Adding Another Audio Interface: When “One More Upgrade” Changes Everything

During my studio makeover, I reached a point where it became clear that my existing setup wasn’t going to support what I wanted to explore next—using outboard hardware with my DAW. That realization led me to add a second audio interface to the studio.

Opportunity struck, and I picked up a Universal Audio Volt 476.

I’ll be honest: I didn’t do much research before buying it. I knew Universal Audio had a strong reputation, I liked the idea of the built-in compression, and—if I’m being completely truthful—the illuminated meters didn’t hurt either. Compared to my existing Focusrite Scarlett 2i2 first generation, it felt like a step into something a little more “serious.”

To be clear, I still love the Scarlett 2i2 and still own it. This wasn’t a replacement because something was wrong—it was an expansion driven by curiosity.

When One Interface Becomes Two

Adding the Volt 476 seemed simple at first. In reality, it added a new layer of complexity.

At that point, my studio included:

• The Universal Audio Volt 476
  
• The Zoom LiveTrak L-20, which also functions as an audio interface
  

Once the Volt entered the picture, I ran into a workflow issue I hadn’t fully anticipated.

If I was using the Volt 476, my headphones needed to be plugged into that unit.
But when I wanted to play or monitor any of the instruments in the studio—most of which were routed through the Zoom L-20—I had to move my headphones over there.

On paper, this is a small inconvenience. In practice, it was one more friction point in a studio that was already becoming increasingly complex.

Hardware, DAWs, and Growing Complexity

Using the Volt 476 for outboard gear meant:

• More audio cables
  
• More patchbay connections
  
• More routing decisions
  
• More opportunities to forget where something was plugged in
  

This was one of those moments where I wished I had paused, done a bit more research, and thought through the signal flow before committing. It wouldn’t have changed my decision—but it might have saved me some head-scratching later.

Fast forward to 2026, and I’ll be completely transparent: I still don’t have this fully solved.

How I’m Working (For Now)

At the moment, my workflow looks something like this:

• When I’m recording or working with synths, I use the Zoom L-20, because that’s where all the instruments are connected and monitored.
  
• When I’m using outboard gear with Logic Pro, I switch over to the Volt 476, since that’s the interface I use for hardware insert workflows.
  

This works—but it’s far from elegant.

Because I’m on a Mac, I could explore creating an aggregate audio device and see if that provides a cleaner solution. That’s something I haven’t fully explored yet, largely due to time and the sheer number of moving parts already in play.

Still a Work in Progress

This is one of those areas where lack of experience and lack of uninterrupted time intersected. I’m still learning, still refining, and still figuring out what a “final” workflow might look like—if such a thing even exists.

Maybe you’re someone who has all of this mapped out perfectly in your studio.
Or maybe, like me, you’re still working through the last few knots in an otherwise functional setup.

Either way, this has been another reminder that in a growing studio, every new piece of gear doesn’t just add capability—it also adds decisions.