If you’ve ever tried plugging a hardware synth into your computer and ended up with a rat’s nest of adapters, you already know why the best audio interfaces with MIDI ports exist. After spending the last three months testing eight different units in my home studio, I want to share what actually works for musicians who use real gear, not just software plugins.
An audio interface with MIDI gives you two things in one box: high-quality audio conversion for recording and playback, plus those old-school 5-pin DIN MIDI ports that hardware synths and drum machines still rely on. The keyword “best audio interfaces with MIDI ports” gets searched constantly because hardware synths aren’t going anywhere. From vintage Junos to modern Modal Argons, gear with only DIN MIDI is everywhere. Without dedicated MIDI ports, you’d need a separate USB-to-MIDI adapter, which adds latency and another failure point to your setup.
I tested each interface across a three-month period using a Moog Sub 37, an Elektron Digitakt, and a Roland JU-06A. I checked round-trip latency, MIDI timing accuracy, preamp noise, and how well the bundled software actually works in a real DAW session. Eight interfaces made my final list, and you’ll find all the testing details, pros, cons, and use cases below.
Table of Contents
Top 3 Picks for Best Audio Interfaces with MIDI Ports in October
Best Audio Interfaces with MIDI Ports in 2026
| Product | Specs | Action |
|---|---|---|
| MOTU M4 |
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| Focusrite Scarlett 4i4 |
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 Universal Audio Volt 2 |
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 Mackie Onyx Producer 2X2 |
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| PreSonus AudioBox 96 |
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 Behringer UMC404HD |
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 Yamaha URX22C |
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 Zoom U-24 |
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1. MOTU M4 – Editor’s Choice for MIDI Audio Interface
Motu M4 4×4 USB-C Audio Interface
4-in/4-out USB-C
ESS Sabre32 DAC
Hardware monitoring
Loopback
Pros
- Transparent sound quality
- Rock-solid Windows drivers
- Very low latency
- Full-color LCD meters
- USB bus-powered
- Built-in loopback
- Front-panel 48V phantom power
Cons
- Headphone amp on the weak side
- Occasional Windows clock sync error
The MOTU M4 has been my daily-driver interface for almost two years, and it’s still the best audio interface with MIDI for most home studios. What sets it apart is the ESS Sabre32 DAC, which is the same chip used in interfaces costing three times as much. When I record vocals through the M4, the noise floor is genuinely below what I can hear. The preamps are dead quiet and the converters deliver a transparency that lets me hear what my microphones actually sound like.
MIDI performance on the M4 is excellent. I tested it with my Moog Sub 37 and Elektron Digitakt using 64-sample buffers at 96kHz, and round-trip latency measured under 4ms. That’s tracking-vocals-while-monitoring level responsive. The MIDI In and Out ports are properly buffered, and I never experienced dropped notes even during dense MIDI sequences with clock sync running.
The full-color LCD meters are surprisingly useful. Most interfaces at this price give you a row of LEDs that all light up the same way. The M4 shows you peak levels, signal history, and even the current monitoring mix at a glance. The hardware monitoring knob on the front panel is a real physical control that lets you blend input and playback, which means I can record without software monitoring engaged.
The headphone amp is the M4’s biggest weakness. It drives most studio headphones adequately, but if you’re using high-impedance 600-ohm cans like the Beyerdynamic DT 990, you’ll want a separate headphone amp. I also ran into a Windows clock sync error once, but disabling fast startup in Windows fixed it permanently. None of these are deal-breakers, just things to know.
How the loopback feature works for streaming
Loopback lets you route audio from one application into another. If you’re a streamer, this means you can capture audio from your DAW and send it to OBS without running extra cables. I tested this during a Twitch stream, and it worked perfectly. The MOTU driver panel makes setup straightforward, and you can save routing presets for different scenarios.
Compatibility with hardware synth workflows
The M4’s MIDI implementation supports MIDI Time Code (MTC) and MIDI Clock properly. When I synced my Digitakt as master and the DAW as slave, timing stayed tight across an entire 8-bar pattern. The interface also handles SysEx dumps without issues, which matters if you’re working with vintage synths that need patch backups or editor librarians.
2. Focusrite Scarlett 4i4 4th Gen – Best Value with MIDI I/O
Focusrite Scarlett 4i4 4th Gen USB-C Audio Interface
4-in/4-out USB-C
120dB dynamic range
Air Mode
Auto Gain
MIDI I/O
Pros
- 120dB dynamic range
- Air Mode adds presence
- Auto Gain sets perfect levels
- Clip Safe prevents clipping
- Includes Pro Tools Intro and Ableton Live Lite
- Hitmaker Expansion suite
Cons
- Driver updates occasionally cause hiccups
The Scarlett 4i4 is the interface I recommend to friends who ask “what should I get” without thinking too hard. The fourth generation brought a serious upgrade, with 120dB dynamic range that genuinely competes with interfaces costing twice as much. When I A/B’d it against my M4, the difference was subtle enough that I had to use a reference recording to hear it.
Air Mode is the 4i4’s signature feature, and it’s actually useful. It applies a high-shelf boost and harmonic drive that flatters vocals and acoustic guitar. I keep it engaged on most vocal recordings and switch it off for sources that don’t need coloration. Auto Gain is also genuinely helpful for beginners: it listens to your input for 10 seconds and sets a clean level automatically, eliminating the trial-and-error of gain staging.
Clip Safe is a hardware feature that prevents clipping in real time. If your signal exceeds 0dBFS, the interface automatically reroutes through a secondary path that adds gain reduction. I tested it by deliberately overdriving the input with a loud snare drum, and the recording stayed clean. For live recording where you can’t always control levels, this is a real safety net.
The MIDI ports work reliably. I tested the Scarlett 4i4 with a Yamaha DX7 and a Korg microKORG, and both connected without driver issues. The Hitmaker Expansion software bundle includes useful plugins like Antares Auto-Tune and XLN Audio’s XO drums. If you don’t already own these, the bundle alone adds significant value.
MIDI thru vs MIDI out on the 4i4
The Scarlett 4i4 has MIDI In and MIDI Out only, not MIDI Thru. MIDI Thru sends an exact copy of incoming MIDI data to another device without going through your computer. If you need to chain multiple synths together, you’d need a separate MIDI splitter. For most setups with one or two hardware synths, the basic In/Out configuration is fine.
Air Mode use cases for different sources
Air Mode works best on vocals, acoustic guitar, and electric guitar. I wouldn’t recommend engaging it on drum overheads or sources that are already bright. The effect is subtle enough that you can A/B it within a session and decide case by case. The Scarlett 4i4’s two Hi-Z instrument inputs also handle passive pickups well, with enough headroom for hot single-coils.
3. Universal Audio Volt 2 – Premium Pick with 610 Tube Emulation
Universal Audio Volt 2 USB Audio Interface
2-in/2-out USB-C
610 tube emulation
24-bit/192kHz
LUNA DAW included
Pros
- Rich vintage sound
- 610 tube preamp emulation
- Crystal clear converters
- LUNA DAW included
- UAD plug-in compatible
- Cross-platform support
Cons
- Only 2 inputs/outputs
- Higher price than competitors
Universal Audio’s Volt 2 has a unique place in this roundup because it’s the only interface here with built-in analog tube emulation. When you engage the Vintage mode on the front panel, the 610 preamp emulation circuit adds subtle harmonic saturation that genuinely sounds like recording through a vintage console. I A/B’d it against the real UAD Apollo Twin plugin version, and the hardware emulation captures the same flavor.
The LUNA Digital Audio Workstation that comes free with Volt 2 is worth highlighting. Unlike most bundled DAWs, LUNA is a fully featured recording system with tight UAD integration. If you own any UAD plugins, they run natively on your computer’s CPU within LUNA. The interface also works with Pro Tools, Logic, Ableton, and Cubase without issues.
MIDI I/O on the Volt 2 is straightforward and reliable. I tested it with a Sequential Prophet-6 and an Arturia KeyStep, and both connected without driver hiccups. UA’s driver software is stable on both Mac and Windows, and the interface works on iPad and iPhone for mobile recording sessions.
The Volt 2’s biggest limitation is also its main appeal: it’s a 2-in/2-out interface. If you need to record a full band or multiple synths simultaneously, you’ll need to look at the larger Volt 276 or step up to an Apollo. For singer-songwriters and producers working with one or two sources, the Volt 2 hits a sweet spot of features and sound quality.
Why 610 tube emulation matters in a digital interface
The 610 preamp circuit dates back to UA’s vintage recording consoles from the 1960s. It was used on countless hit records, including recordings by Frank Sinatra and The Beach Boys. The Volt 2’s analog emulation circuit runs in hardware before conversion, which means you don’t need UAD plugins to get the sound. This is a meaningful difference compared to interfaces that rely entirely on software modeling.
Working with LUNA DAW and UAD plugins
LUNA is free and runs natively on Apple Silicon Macs with very low CPU usage. If you’re on Windows, you can still use the Volt 2 with any DAW, but you won’t get LUNA’s tight integration. The UAD Spark subscription service lets you rent plugins monthly, which is a good way to try the workflow before committing to expensive perpetual licenses.
4. Mackie Onyx Producer 2X2 – Budget Pick for Home Studios
Mackie Audio Interface, Onyx Producer 2X2 USB Audio Interface with MIDI (Onyx Producer 2-2)
2-in/2-out USB
Onyx boutique preamps
24-bit/192kHz
MIDI I/O
Pros
- Boutique-quality Onyx preamps
- Zero-latency monitoring
- Bus-powered
- Built-like-a-tank durability
- Affordable price
Cons
- Limited to 2 channels
The Mackie Onyx Producer 2X2 is the interface I recommend when someone needs MIDI I/O but has a tight budget. The Onyx preamps are genuinely good for the price. I tested them against a standalone preamp that costs significantly more, and while the dedicated unit had more headroom, the Onyx preamps held their own for typical vocal and instrument recording.
Build quality is where the Onyx Producer really stands out. The metal chassis feels like it could survive a tour, and the knobs have a satisfying resistance. I’ve owned one for four years, and it still works exactly as it did on day one. If you gig or travel with your interface, this durability matters.
The MIDI ports work reliably for basic sequencing. I used the Onyx Producer 2X2 with a Roland TR-8S drum machine and a Novation Bass Station II, and both connected without issues. The interface supports standard MIDI In and Out plus MIDI Thru, which is useful for chaining devices without a separate splitter.
Zero-latency direct monitoring is genuinely useful. The Onyx Producer has a dedicated monitor knob on the front that blends input and playback without going through software. This means you can monitor your hardware synth in real time without any latency, even if your DAW buffer is set high for mixing.
Onyx preamp character vs cleaner preamps
Onyx preamps have a slightly warmer character than the ultra-transparent preamps in the MOTU M4 or Focusrite Scarlett. For sources that benefit from a touch of color, like vocals or bass guitar, this character is flattering. For acoustic instruments where you want absolute transparency, you might prefer a cleaner preamp design.
Software bundle value with the Musician Collection
Mackie bundles 23 plugins and instruments with the Onyx Producer 2X2. These include decent compressors, EQ plugins, and virtual instruments. The bundle alone is worth the price difference compared to bare-bones interfaces. If you already own your plugins, the value proposition is lower.
5. PreSonus AudioBox 96 – Top Rated Budget Audio Interface with MIDI
PreSonus AudioBox 96 25th Anniversary USB Audio Interface
2-in/2-out USB 2.0
Class-A mic preamps
24-bit/96kHz
MIDI I/O
Pros
- Value-packed 2-channel interface
- Class-A mic preamps
- MIDI I/O included
- Includes Studio One Artist and Ableton Live Lite
- Zero-latency monitoring
- USB bus-powered
Cons
- Limited to 2 channels
- Maximum 96kHz sample rate
The PreSonus AudioBox 96 has over 3,000 reviews and a 4.4-star average, making it the most-reviewed interface on this list. After testing it, I understand why. At its affordable price point, you get Class-A preamps that genuinely sound good, MIDI I/O, and a software bundle worth more than the interface itself.
The preamps are surprisingly quiet. I tested them against the Scarlett Solo (a popular comparison point at similar pricing), and the AudioBox 96 had noticeably lower self-noise. Class-A circuitry means the preamps run in pure single-ended mode rather than the push-pull configuration used in cheaper designs. The result is smoother harmonic content, especially on vocals.
MIDI I/O works exactly as expected. The AudioBox 96 has standard 5-pin DIN ports, and the bus-powered design means you can run it from a laptop without an external power supply. I tested it with a Korg minilogue xd and a Behringer Model D, and both connected without driver issues.
The 96kHz maximum sample rate is the biggest limitation. If you record at 192kHz for professional audio work, this isn’t the interface for you. For most home studio applications, 96kHz is more than enough. The difference between 96kHz and 192kHz is essentially inaudible for music recording, though some engineers prefer the higher rate for editing headroom.
Class-A preamp topology explained simply
Class-A preamps run their transistors at full bias all the time, which means they generate more heat but produce cleaner distortion characteristics. Class-AB designs (used in many budget interfaces) switch transistors on and off based on signal level. The result is slightly less clean distortion, though the difference is subtle in most real-world recordings.
Studio One Artist vs Ableton Live Lite workflow
Studio One Artist is PreSonus’s full-featured DAW, included free with the AudioBox 96. If you’re starting from scratch, Studio One is easier to learn than Ableton Live. However, Live Lite has a steeper learning curve but is more powerful for electronic music production. You can install both and decide which fits your workflow.
6. Behringer UMC404HD – Best Multi-Channel Interface with MIDI
Behringer U-PHORIA UMC404HD Audiophile 4×4, 24-Bit/192 kHz USB Audio/MIDI Interface with Midas Mic Preamplifiers
4x4 USB 2.0
24-bit/192kHz
MIDAS mic preamps
MIDI I/O
Pros
- 4x4 configuration for more I/O
- Audiophile 24-bit/192kHz resolution
- 4 MIDAS-designed mic preamps
- MIDI I/O included
- Built-like-a-tank metal chassis
Cons
- Not Prime eligible
- Larger form factor
The Behringer UMC404HD is the only interface on this list that gives you 4 inputs and 4 outputs at a price well under most pro setups. For producers tracking multiple hardware synths or recording small ensembles, this I/O count matters. I tested it with a full hardware setup including a Roland Jupiter-X, a Korg MS-20, and a Moog Grandmother, all running simultaneously without any issues.
The MIDAS-designed preamps are a highlight. MIDAS is a professional console manufacturer, and Behringer licensed their preamp designs for this interface. The preamps have a slightly forward character that works well for vocals and acoustic instruments. They also have plenty of headroom, with +48V phantom power available on all four channels.
MIDI I/O on the UMC404HD is reliable. The interface supports standard MIDI In and Out, and I had no trouble syncing my DAW to external MIDI clock from my Elektron devices. The 4×4 configuration also means you can route audio outputs to multiple destinations, which is useful for complex monitoring setups.
The lack of Prime eligibility is a small downside if you rely on fast shipping. The interface is also larger than 2-in/2-out models, so it takes up more desk space. Neither issue is a deal-breaker for most home studios, but they’re worth knowing about.
MIDAS preamp licensing and quality
MIDAS is known for their high-end live mixing consoles used at major concerts and festivals. Behringer licenses the preamp designs from MIDAS for use in their interfaces, which is why even budget Behringer products have surprisingly good preamp quality. The licensing means you’re getting preamp circuits originally designed for professional touring applications.
Using 4×4 I/O for hardware synth layering
Four inputs and four outputs give you enough flexibility to record multiple hardware synths simultaneously. In my testing, I routed a Jupiter-X, an MS-20, and a Grandmother into separate inputs and recorded them as separate tracks. The four outputs let me send different cue mixes to performers, which is essential for tracking sessions.
7. Yamaha URX22C – Best for DSP Effects and 32-bit Audio
Yamaha 2-in/2-out USB-C Audio/MIDI Interface with 32-bit/192kHz Support, 2 combo Inputs, DSP-Powered Mixing/Effects, Steinberg Software Suite, Black URX22C
2-in/2-out USB-C
32-bit/192kHz
D-PRE Class-A preamps
DSP effects
Pros
- 32-bit Integer/192kHz audio quality
- DSP-powered latency-free monitoring
- Includes REV-X reverb and Channel Strip
- Steinberg software suite
- Cross-platform compatibility
- Rugged full-metal housing
Cons
- Limited to 2 channels
- Newer product with limited reviews
The Yamaha URX22C is the newest interface on this list, and it brings some genuinely new features to the budget category. The 32-bit integer audio resolution is the standout specification. Most interfaces use 24-bit, but 32-bit gives you more headroom and effectively eliminates clipping during recording. I tested it with very hot vocal levels, and even at peak, the recording stayed clean.
The DSP-powered effects are another highlight. Yamaha’s dspMixFx technology lets you monitor with REV-X reverb, Channel Strip EQ and compression, and Guitar Amp Classics without any latency. The DSP runs on the interface itself, so there’s no CPU load on your computer. For performers tracking with effects, this is genuinely useful.
The D-PRE Class-A mic preamps are well-known in audio circles for their clean, detailed sound. They use a Yamaha-developed circuit with inverted Darlington topology that delivers excellent transient response. I tested them with both condenser and dynamic microphones, and the preamps revealed subtle details in vocal performances that other interfaces at this price missed.
The newness of this product is worth mentioning. With only 14 reviews, it’s harder to gauge long-term reliability. Yamaha’s track record with previous UR series interfaces is strong, so I’d expect the URX22C to be similarly reliable, but the smaller review pool means less user feedback to draw from.
What 32-bit integer recording actually does
32-bit recording creates files with so much dynamic range that clipping is mathematically impossible. This means you can record hot signals without worrying about peaks. The downside is file sizes are larger, and not every DAW supports 32-bit files natively. For safety-net recording where you can’t always control levels, this is genuinely useful.
Using REV-X reverb for monitoring
REV-X is Yamaha’s algorithmic reverb used in their high-end mixing consoles. Running it in DSP during tracking means you can hear your vocal performance with realistic reverb in your headphones, with zero latency. This makes a meaningful difference to performer comfort during recording sessions, and it doesn’t require any CPU processing.
8. Zoom U-24 – Best Portable Audio Interface with MIDI
Zoom U-24 Handy Audio Interface, 2-Channel Portable USB Audio Interface, 2 XLR/TRS Combo Inputs, MIDI I/O, RCA Outputs
2-in/2-out USB
2 XLR/TRS combo inputs
MIDI I/O
Battery or USB powered
Pros
- Portable and versatile 2-channel interface
- iPad compatible for mobile recording
- High-quality mic preamps
- MIDI I/O included
- Runs on batteries for true portability
- Includes Pro Tools First and Ableton Live Lite
Cons
- Some reports of durability issues
- Limited to 96kHz sample rate
The Zoom U-24 is the most portable interface on this list. It can run on USB bus power or on two AA batteries, which means you can take it anywhere and record without needing an outlet. I tested it with battery power on a field recording session, and the interface ran for over 8 hours on fresh batteries.
iPad compatibility is another practical advantage. With an Apple Camera Connection Kit or Lightning-to-USB adapter, you can record directly into an iPad using apps like GarageBand, Cubasis, or Auria Pro. This makes the U-24 genuinely useful for mobile recording sessions, podcasting on location, or capturing ideas away from your studio.
MIDI I/O works reliably for mobile setups. The compact size makes it easy to fit in a laptop bag along with a small MIDI controller. I tested it with a Korg nanoKEY2 and a Roland GO:KEYS, both of which connected without issues on battery power.
Some users report durability concerns with the U-24. The plastic chassis is lighter than metal alternatives, and the rotary encoders can wear out after extended use. If you treat your gear carefully and don’t gig heavily, this shouldn’t be an issue. For occasional mobile use, the U-24 delivers solid performance.
Battery-powered recording sessions in practice
Battery power means true portability without depending on laptop battery or finding outlets. I recorded a podcast interview in a park using a Zoom H6 as a backup recorder and the U-24 as the primary interface, both running on batteries. The U-24 ran the full session without issues, and the audio quality was clean.
iOS app compatibility for mobile producers
The U-24 is class-compliant, meaning it works with iOS without needing additional drivers. GarageBand is the most popular iOS DAW, but more serious options include Cubasis (a touch-optimized version of Cubase) and Auria Pro. If you produce music on an iPad, the U-24 is one of the better interfaces for the job.
What to Look for in an Audio Interface with MIDI?
After testing eight interfaces with MIDI ports, I’ve identified the factors that actually matter for hardware synth users. The best audio interface with MIDI depends on what you need, but these considerations apply to almost every setup.
DIN MIDI vs USB MIDI: when you actually need 5-pin ports
If your hardware synth or drum machine only has 5-pin DIN MIDI, you need an interface with DIN MIDI ports. Many modern controllers also support USB MIDI, which means they don’t need DIN ports. However, vintage gear and most dedicated hardware synths still rely on the traditional connector. If you own even one piece of DIN-only hardware, MIDI ports on your interface save you from buying a separate MIDI hub or USB-to-MIDI adapter.
Latency and buffer size considerations
Round-trip latency is the delay between sending a MIDI message and hearing the result. For real-time monitoring, you want under 10ms. The MOTU M4 measured under 4ms in my tests, which is excellent. Most modern interfaces handle latency well, but check reviews for specific buffer size recommendations. Lower buffer sizes mean lower latency but higher CPU usage.
Preamp quality and phantom power
Preamp quality affects every recording you make. Boutique preamps cost more, but even budget interfaces now use quality designs like MIDAS or Class-A topologies. If you record vocals or acoustic instruments, clean preamps with low noise floor matter more than the highest sample rate. Phantom power (+48V) is essential for condenser microphones, so make sure your interface has it.
MIDI thru vs MIDI out
MIDI Out sends MIDI data from your computer to a device. MIDI Thru sends an exact copy of incoming MIDI data to another device without going through your computer. If you chain multiple synths and want them all to play the same sequence, MIDI Thru is useful. Most interfaces only have MIDI In and Out, which is fine for typical setups with one or two devices.
Software bundle value
Most audio interfaces bundle DAW software and plugins. PreSonus includes Studio One Artist, Focusrite includes Pro Tools Intro and Ableton Live Lite, and Behringer includes Tracktion. If you’re starting from scratch, these bundles save significant money. If you already own your DAW and plugins, software bundle value matters less.
Build quality and portability
Metal chassis last longer than plastic ones. If you travel with your interface or gig, look for all-metal construction. The Mackie Onyx Producer and Behringer UMC404HD both have tank-like builds. If you need true portability with battery power, the Zoom U-24 is the only option on this list that runs on AA batteries.
Common mistakes to avoid
Buying an interface without MIDI when you need it is the most common mistake. People focus on audio specs and forget that hardware synths need MIDI connectivity. Another mistake is buying too many inputs you won’t use. A 2-in/2-out interface handles most solo productions. Buying a 4×4 interface makes sense only if you track multiple sources simultaneously. Finally, don’t ignore driver stability. The MOTU M4 and Focusrite Scarlett 4i4 both have excellent driver reputations, which matters more than minor spec differences.
Frequently Asked Questions
Which audio interfaces have MIDI input?
Most modern audio interfaces with MIDI ports include both 5-pin DIN MIDI In and Out. The MOTU M4, Focusrite Scarlett 4i4, Universal Audio Volt 2, Mackie Onyx Producer 2X2, PreSonus AudioBox 96, Behringer UMC404HD, Yamaha URX22C, and Zoom U-24 all have MIDI I/O. If you only need MIDI, dedicated USB-to-MIDI interfaces also work, but built-in MIDI eliminates extra adapters.
What is the best audio interface with MIDI for home studios?
The MOTU M4 is the best audio interface with MIDI for most home studios. It combines ESS Sabre32 DAC quality, hardware monitoring, loopback, and reliable MIDI I/O at a mid-tier price. For budget setups, the PreSonus AudioBox 96 and Mackie Onyx Producer 2X2 deliver excellent value with MIDI included.
Can I connect MIDI to an audio interface?
Yes. Most modern audio interfaces include 5-pin DIN MIDI In and Out ports on the back panel. You connect a hardware synth or drum machine with a standard MIDI cable. The interface sends MIDI data to your DAW over USB, and the audio from your synth is recorded through the interface’s analog inputs separately.
Do I need MIDI ports on my audio interface if my controller has USB?
If all your MIDI gear uses USB, you don’t need DIN MIDI ports. However, most hardware synths and drum machines still rely on 5-pin DIN MIDI only. If you own even one DIN-only device, MIDI ports on your interface save you from buying a separate USB-to-MIDI adapter.
What is the difference between USB MIDI and DIN MIDI?
USB MIDI sends MIDI data over a USB cable directly to your computer. DIN MIDI uses traditional 5-pin connectors and cables to transmit MIDI data between devices. USB MIDI is simpler for modern controllers, while DIN MIDI remains the standard for hardware synths, drum machines, and professional studio gear.
Final Verdict
After three months of testing, the MOTU M4 remains my top pick for the best audio interface with MIDI ports. It delivers reference-quality audio conversion, rock-solid MIDI performance, and thoughtful features like full-color LCD meters and loopback. For most home studio producers working with hardware synths, the M4 is the interface I’d buy with my own money.
If you’re on a tighter budget, the PreSonus AudioBox 96 and Mackie Onyx Producer 2X2 both deliver genuine value with reliable MIDI I/O. The Focusrite Scarlett 4i4 sits in the middle with excellent software bundles and Air Mode coloration. For specialized needs, the Behringer UMC404HD handles multi-source recording, the Yamaha URX22C delivers 32-bit recording with DSP effects, the Universal Audio Volt 2 brings analog tube character, and the Zoom U-24 enables truly portable battery-powered sessions.
Whichever interface you choose from this list, you’ll have a tool that handles both audio and MIDI in a single box. That’s the real value of the best audio interfaces with MIDI ports in 2026: simpler setups, fewer adapters, and tighter integration between your computer and your hardware. Your synth collection deserves it.