Focusrite Scarlett 18i20 4th Gen Review

By Nate [KVR] on January 6th, 2025

Focusrite's Scarlett range has long been a favourite among musicians and producers looking for affordable and reliable audio interfaces, and the 4th generation refresh brings some notable improvements. We first saw the new 4th generation interfaces early in 2024 with the smaller budget models, namely the Scarlett Solo, 2i2, and 4i4 models being introduced. The larger interfaces with more abundant I/O options have now followed suit and brought with them numerous improvements. The 18i20 on test here, is the flagship model, and is designed for those who require a comprehensive I/O setup.

First Impressions

It’s no surprise that, now in its 4th iteration, the Focusrite Scarlett series feels polished and refined. The build quality on the 18i20 is as solid as they come, and aesthetically, it’s a great looking piece of kit. The visual feedback from the front panel LEDs is particularly eye-catching along with the signature red metal body. Unboxing the unit, you’ll find the interface itself, a mains power cable with, thankfully, no external PSU, some optional rack ears for mounting the unit, a USB-C to USB-A cable and documentation linking to the quick start guide and online setup. We recently reviewed the Novation Launchkey MK4 series of controllers and were impressed by how smooth the setup process was. It is a similar experience with the Focusrite range too and getting up and running is a breeze.

Getting Connected

The 18i20 is intended to serve more complex setups and as such features a wealth of input and output options. It boasts eight analogue inputs located on the rear as combo XLR/jack connections that accommodate microphone or line-level signals, all equipped with Focusrite’s new RedNet Converters. Inputs 1 and 2 are conveniently duplicated and given priority on the front panel too for easy access. We loved this flexibility of being able to wire up the device into a rack, but still have the opportunity to quickly plug in a different source at a moment's notice without too much trouble at all.

Outputs are made up of ten balanced line connections on the rear for connecting monitors or external gear. Outputs 3 and 4 can be assigned as alternate monitor outputs too with a dedicated switch on the front panel, making it easy to AB mixes on different speaker systems. Additional monitoring is available via two independent headphone outputs on the front panel. For users working predominantly with external synths, it would have been nice to see DC coupled outputs on 18i20. Given the flexible routing, being able to drive some external modular gear would have been a great bonus, however, users can still opt to use something such as the Expert Sleepers ES-3 via the ADAT I/O to achieve this.

Lastly, a host of digital connections are on hand including 8 channels of ADAT I/O at 96khz, S/PDIF, five-pin MIDI input and output, word clock output and the USB-C port for connectivity.

Down to Business

The revised and simplified front panel of the 18i20 is clear and straightforward. The device is digitally controlled for the most part and relies on the excellent Focusrite Control 2 for much of the routing and operation. More on that in a bit, never-the-less there is plenty of front panel control available for quick and easy access. A pair of endless rotary controls are provided for setting input and output levels, as well as an additional pair for the headphone outputs. A gorgeous LED ‘halo’ effect provides clear feedback for the controls. Rather than provide dedicated controls for input gains, Focusrite opted for a less cluttered approach that actually works quite well. Inputs are selected with the corresponding channel switch, and adjusted with the global input control. A simple click of the ‘Link’ button, will quickly activate a pair of inputs to a stereo pair and can again be adjusted together by the global control. This does however mean that you can’t adjust the gain for more than one input (or stereo pair) at a time. Fortunately, this is somewhat mitigated by one of our favorite features on the 18i20, namely the auto gain setup. Simply choose your channel, click auto, and for example, speak into a mic. The process takes a few seconds and will automatically set the optimal level for the channel and a ‘Safe’ option can be enabled which will readjust the inputs to prevent any clipping. If you opt to initiate the auto gain setup via the software, you’ll have the option to do all of them simultaneously, making it incredibly easy to get up and running when recording a drum kit for example.

The Ins and Outs.

While on the subject of inputs, the mic pres and RedNet converters included in this new Scarlett range sound incredibly clean. On the technical side, they are capable of capturing 24-bit audio up to 192 kHz and there is plenty of headroom on hand with Focusrite claiming 116dB of dynamic range with -100db of harmonic distortion and noise which is entirely negligible for the most part. Focusrite have also reengineered the Air algorithm which is available on each mic pre and have now included an additional mode accessible via double clicking the ‘Air’ button, which adds simulated drive and additional mid range harmonics to the input signal along with the additional presence option. We were on the fence initially about whether this should be enabled during recordings, as this can essentially be done in post, however the results were actually consistently good. The presence mode in our testing was particularly nice to have when recording vocals, and anyone using any of the Scarlett range interfaces for podcasting applications will really appreciate being able to get an improved vocal sound and correctly set gain at the touch of a button.

Focusrite Control 2 and Bundle Software

The new Focusrite Control is excellent. Much like the overhauled front panel of the new audio interfaces, it offers a clear, simple interface with more than enough routing options to keep more than most happy. Are there more complex, more versatile options out there? Sure, however the new Focusrite Control 2 software offers a great middle ground between versatility and ease of use with its many features that allow users to get connected and recording in seconds. The software for the 18i20 is split into three sections covering input control (and access to the aforementioned auto gain setup), a mixer page with control for the physical analogue and digital outputs, plus the playback channels from your DAW, and lastly, the routing matrix. There are 24 playback channels in total (12 stereo) which can be routed to any of the physical outputs easily. The main by default is assigned to output 1 and 2, with an optional alt mode assignable to 3 and 4 making it easy to incorporate more complex monitoring systems. A loopback channel is also available making it possible to route system audio to your desired location with ease. We tested the 18i20 with the ASIO driver plugin for OBS Studio too and are pleased to report it is perfectly compatible, allowing for simultaneous recordings of a DAW output and Mic channels on separate channels making it an excellent option for streaming. Multiple mix setups are also possible as well as storing presets for various setups, including talkback routing and more.

Focusrite has also provided remote control for the 4th generation series via a handy mobile application. Both iOS and Android are supported, and the app essentially mirrors the desktop software, making it easy to manage the audio interface from different positions within the studio. There was almost no setup at all required to speak of, apart from downloading the app and making sure you are on the same network as the computer linked to the interface.

As for additional bundled software, a healthy collection of music software, plugins and services is on offer in Focusrite’s Hitmaker collection. Some highlights include Antares Auto-Tune Access and Vox Doubler from SONNOX, making this a solid starting point for vocalists. Another nice touch is the inclusion of Brainworx’s bx_console Focusrite SC, along with Focusrite’s own Red 2 and 3 EQ and Compressor for a complete set of Focusrite flavored mixing tools. The collection is rounded off with offerings from Klevgrand, Softube, Native Instruments and XLN Audio, providing tools for processing guitars, laying down some synths or drums and more. Some additional freebies include Ableton Live Lite, three months of Pro Tools Artist, or six months of FL Studio Producer Edition recording software, plus some online mastering options from Landr.

Conclusions

The Focusrite Scarlett 18i20 4th Gen is a robust audio interface designed for mid sized project and professional studios alike and offers some significant improvements over its predecessor, boasting excellent audio quality, comprehensive I/O options, and useful features for streamlining the recording process. Price wise, it is more expensive than the previous generation, but the enhanced features and performance justify the investment. Considering the amount of I/O, flexibility and quality for the price, we feel it is a very strong contender in its class as a mid-range audio interface, bridging the gap between budget interfaces, and the more high-end market whilst still providing a solid all-around interface.

Availability and Pricing:

The Focusrite Scarlett 4th Gen Series is available from Sweetwater and Thomann.

• Scarlett 18i20: $749.99
• Scarlett 18i16: $569.99
• Scarlett 16i16: $429.99

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