The EVO 8 looks like the safer buy. More mic inputs, more outputs, two headphone connections, and more room for your studio to grow. But there's a catch: none of those extras improve a session that only needs one or two inputs.
That's what makes the Audient EVO 4 vs EVO 8 decision easier than it first appears. You're not really choosing between a basic interface and a better-sounding one. You're choosing between a smaller interface that already covers most solo recording setups and a larger one that starts making sense when more people, microphones, headphones, or outputs enter the room.
So before you pay for more interface, picture your busiest realistic recording session. How many things need to be plugged in at the same time? That answer will probably pick the right EVO for you.
Quick Answer: Audient EVO 4 vs EVO 8
Buy the EVO 4 if you normally record by yourself. Two mic preamps are enough for vocals, voice-over, a two-mic recording, or many singer-songwriter setups, while you still get Smartgain, loopback, a JFET instrument input, and the simple EVO workflow. It's the one I'd choose if you know your sessions are going to stay small.
Buy the EVO 8 if your studio regularly needs more than two inputs or more flexible monitoring. Its four mic preamps let you record sessions such as several microphones at once, while the additional outputs and second headphone output make it much easier to accommodate another person or a more involved studio setup.
My quick pick: don't buy the EVO 8 just because it's the bigger model. For a simple solo setup, I'd take the EVO 4 and use what I actually need. I'd step up to the EVO 8 when I can already name the third or fourth source I want to record, or I know the extra monitoring flexibility will be useful.
Better fit for smaller, simpler recording setups
Better fit when you need more inputs and monitoring flexibility
EVO 4 or EVO 8: Which One Fits Your Setup?
Start with the session you actually need to run, not the bigger interface. The EVO 4 already covers a lot of home recording: one microphone, guitar and vocals, voice-over, or even two microphones at once. If that describes your normal session, moving to the EVO 8 could leave you with extra connections that rarely get used.
If your studio is growing around a Thunderbolt-equipped Mac, I'd also think about the connections surrounding the interface. The EVO itself doesn't require Thunderbolt, but a premium Thunderbolt 4 cable for your wider studio setup can make sense for compatible docks, external drives, displays, and other high-bandwidth gear you add alongside it. The Apple Thunderbolt 4 Pro Cable is the one I'd choose if you want a durable 1.8m braided cable rather than buying the cheapest cable in the chain.
The EVO 8 becomes much easier to justify when your sessions stop being strictly solo. Its four mic preamps give you space for several microphones at the same time, and its additional monitoring options are much more useful when another person joins the session, or you need to send audio to more places in your studio.
Your microphone choice can also matter more than moving from the EVO 4 to the EVO 8. If you're building the setup around vocals, voice-over, or podcasting, I'd rather put more of the budget into a premium XLR microphone like the Shure SM7B than buy extra interface inputs that may sit unused. Just keep in mind that the SM7B is a relatively gain-hungry dynamic microphone, so your gain requirements should be part of the setup decision.
That's the distinction I'd use here: the EVO 4 keeps a small setup small; the EVO 8 keeps a growing setup from becoming a workaround. You don't need to predict every piece of gear you'll ever own. You only need to decide whether two recording inputs are realistically going to become a limitation.
| Interface | Fits You If... | What Changes | My Take | Check |
|---|---|---|---|---|
| Audient EVO 4 | You usually record alone, use one or two microphones, or record vocals and instruments without needing several sources live at once. | You get two mic preamps, Smartgain, a JFET instrument input, loopback, and a compact bus-powered setup without paying for studio capacity you may never use. | Best fit for a focused solo setup | View → |
| Audient EVO 8 | You record several microphones, bring other people into sessions, want two headphone connections, or need more flexible studio monitoring and outputs. | Four mic preamps and the expanded output and headphone arrangement let you handle sessions that would require compromises or reconnecting gear with the EVO 4. | Best fit for a studio that's getting busier | View → |
Quick takeaway: I'd choose the EVO 4 when two inputs already cover the most demanding session I realistically expect to record. I'd choose the EVO 8 when the third microphone, another pair of headphones, or a more involved monitoring setup is already part of the plan, not simply because I might need it someday.
How Many Inputs Will You Actually Use?
Count What You Record at the Same Time
Four mic preamps sound more useful than two until you ask a better question: what needs to be recorded simultaneously? Owning four microphones doesn't mean you need four inputs. If you record each source separately, those extra preamps may spend most of their life unused.
And if you're putting more of your budget into one or two good microphones instead of unused inputs, don't overlook the connection between them and your interface. I'd pair your main recording mic with a Mogami Gold Studio XLR microphone cable rather than make a cheap cable the weak point in an otherwise solid setup. Its quad-conductor construction and shielding are especially useful when you're trying to keep interference out of a home-studio signal chain.
With the EVO 4, you can already build plenty of complete sessions around two mic preamps. You can record two microphones together, capture two people speaking, or track a vocal and another source without constantly changing your interface.
The EVO 8 changes the equation when several performers or microphones need their own channels at once. One owner in the reviews you supplied described running three microphones for vocals, acoustic guitar, and ukulele alongside an instrument source. That's the kind of session where four preamps stop being an impressive number on the box and become something you genuinely use.
More microphones also mean you need to think about what you're actually monitoring while everyone records. For tracking vocals, instruments, or multi-person sessions, I'd pair the interface with closed-back studio headphones like the DT 770 PRO rather than relying on everyday listening headphones. The 80-ohm version is built for studio use, and its closed-back design makes it a particularly sensible match when you're monitoring while microphones are live.
Smartgain also becomes more interesting as the session gets larger. Automatically establishing levels isn't just a convenience when you're dealing with several channels, it can reduce the amount of setup you have to do before everyone can start recording.
Two Inputs Are Probably Enough If You...
- Record one vocal or voice-over microphone at a time.
- Make music mostly by overdubbing one part after another instead of recording several musicians live.
- Need two microphones simultaneously for a conversation, stereo recording, or another small session.
- Usually work alone and don't expect your sessions to move beyond one or two live sources.
- Want to put more of your budget into the recording position you use every day. For vocals, voice-over, or podcasting, I'd rather add a premium microphone boom arm like the RØDE PSA1+ than pay for extra interface inputs you don't need. It gives you smooth mic positioning, integrated XLR cable management, and a cleaner way to keep your microphone exactly where you want it while recording.
- Want your interface to remain compact rather than reserving connections for hypothetical future gear.
Four Mic Preamps Start Making Sense If You...
- Want to record three or four microphones at the same time.
- Record podcasts or conversations where several people need their own microphone channels.
- Capture musicians together instead of building every recording one track at a time.
- Record several vocalists, podcasters, or voice-over microphones and want each position properly prepared for close-mic recording. Alongside the microphones themselves, I'd add a professional pop filter like the Stedman Proscreen XL V2 to your main vocal position. Its large metal screen redirects plosive airflow away from the microphone, while the adjustable gooseneck makes it easy to position for different speakers or singers.
- Mic multiple parts of an instrument or session and want those signals recorded separately for mixing later.
- Already find yourself unplugging equipment because two recording inputs aren't enough for the sessions you do.
Don't Buy Inputs for a Studio That Doesn't Exist Yet
“Future-proofing” can make the EVO 8 sound like the automatic choice, but I'd be careful with that argument. There is a difference between knowing your setup is expanding and imagining that it might expand someday.
The same rule applies to the rest of your budget. If two inputs already cover your recording sessions, I'd rather put money into something you'll actually hear and use every time you mix. A pair of Yamaha HS8 studio monitors for serious mixing can make more sense than paying for interface capacity that stays empty. Their 8-inch woofers and reference-focused design are especially appealing if you have enough room for larger monitors and want a more capable monitoring setup.
If you're currently recording one microphone and occasionally adding a second source, the EVO 4 isn't something you've already outgrown. But if you're planning a three-person podcast, recording several musicians together, or can already identify the third and fourth microphones your sessions require, choosing the EVO 4 could simply postpone an upgrade.
If your studio really is expanding, think beyond the interface itself. Once you're adding more microphones, monitors, controllers, and cables, having somewhere sensible to organize everything becomes part of the upgrade. I'd consider a dedicated studio workstation like the Glorious Sound Desk Pro if your current desk is already getting crowded. Its multi-level layout, built-in rack spaces, keyboard tray, and cable routing give growing studio gear a permanent place instead of letting every new purchase compete for the same desktop space.
My decision rule: count the maximum number of microphones or sources that must be captured at the same moment. If that number stays at two, I'd choose the EVO 4. If your real sessions regularly push beyond two mic preamps, that's the strongest reason to move to the EVO 8.
Choose it when two mic preamps cover your real sessions.
Choose it when several microphones need to record together.
Will EVO 8 Actually Make Your Recordings Sound Better?
Here's where I'd save you from buying the EVO 8 for the wrong reason: don't upgrade just because you're expecting your vocal, guitar, or podcast to suddenly sound more professional.
The EVO 8 gives you more ways to build a session, but that isn't the same thing as giving every individual track a major sonic upgrade. The owner feedback you supplied for both interfaces repeatedly describes the EVO preamps as clean, transparent, and low-noise. EVO 4 owners report strong results with vocals, instruments, stereo recording, and home-studio work, while EVO 8 owners report similarly clean results across larger sessions.
The same thinking applies when you're listening back to those recordings. Before assuming a larger interface will improve what you hear, look at how your monitors are positioned on the desk. I'd put a good pair of speakers on IsoAcoustics ISO-200 isolation stands for studio monitors if your monitors currently sit directly on the desktop. They isolate the speakers from the supporting surface while giving you height and tilt adjustment, so you can position your monitors more deliberately at your listening position.
In other words, I'd choose between these interfaces based on what you need to record, not because the number 8 promises a better-sounding version of the number 4.
What Will Have a Bigger Effect on Your Recording?
- Your microphone and its placement: moving the mic, changing your distance, or choosing a microphone better suited to your voice or instrument can change the recording far more obviously than moving from EVO 4 to EVO 8 for a single source.
- Your room: reflections, background noise, computer fans, and untreated spaces are captured before the interface ever gets a chance to help you.
- Your music-production workflow: if you compose with virtual instruments, spending more on interface inputs won't make writing parts any easier. I'd rather add an M-AUDIO Oxygen 61 MKV MIDI keyboard controller to a two-input setup if you want full-size room for playing software instruments while getting hands-on control over your DAW. That can be a much more useful studio upgrade than moving to four mic preamps you rarely use.
- Your recording level: both interfaces give you Smartgain, so you don't need the EVO 8 simply to make setting a sensible input level easier.
- Your performance: a cleaner take with good mic technique is worth considerably more than buying unused inputs in the hope that they will improve one vocal track.
- Your recording storage: larger sessions can create a lot more audio files long before you need another interface upgrade. If you're recording multitrack projects, using large sample libraries, or keeping sessions on a separate drive, I'd add a Samsung T9 4TB portable SSD for your studio before paying for recording inputs that will sit unused. The 4TB capacity gives you plenty of room for projects, stems, sample libraries, and session backups while keeping the drive small enough to move between studio computers.
There is an important way the EVO 8 can improve the finished recording indirectly, though. If your project needs three or four microphones at once, being able to capture those sources as separate channels gives you much more freedom when you mix them later.
Imagine recording several performers together. With enough inputs, you can keep each microphone on its own track and adjust levels, EQ, processing, and balance afterward. In that situation, the EVO 8 isn't winning because one preamp magically sounds better, it's winning because the EVO 4 doesn't have enough mic preamps for that session.
Understanding your room: before spending more on the interface because your mixes don't translate the way you expect, I'd first find out what your room and speakers are actually doing. A dbx RTA-M measurement microphone for room analysis gives you an omnidirectional measurement mic for analyzing your monitoring environment with compatible measurement software or hardware. That can help you make more informed decisions about speaker placement, room treatment, and system setup instead of expecting extra EVO 8 inputs to solve a monitoring problem.So When Is EVO 8 Worth Moving Up To?
- You record one mic at a time: EVO 4 already gives you the core recording quality you need.
- You record vocals and an instrument: EVO 4 can still be the sensible choice when two inputs cover the session.
- You regularly need three or four microphones: EVO 8 becomes the practical choice because those sources can remain separate while recording.
- Your studio already has several powered devices: once you're running an interface, computer, monitors, external storage, and other studio gear, I'd also think about protecting the setup rather than putting every extra dollar into more inputs. A CyberPower CP1500PFCLCD for studio power protection gives you surge protection, EMI/RFI filtering, automatic voltage regulation, and battery backup in one unit. That makes it a more meaningful studio upgrade when your existing two-input interface already handles everything you actually record.
- You want EVO 8 purely for “better sound”: I wouldn't use that as the reason to spend more. Put the upgrade money toward something that addresses an actual weakness in your recordings.
The bottom line: if you put the same microphone in the same room, record the same source properly, and only need one or two channels, I wouldn't buy the EVO 8 expecting a dramatic jump in recording quality. Choose EVO 4 for the smaller session; choose EVO 8 when the larger recording setup itself is what improves what you can create.
The EVO 8 Upgrade You’ll Notice Every Day
The best reason to move from the EVO 4 to the EVO 8 isn't hidden inside your waveform. It's everything you stop having to work around before and during a session.
A two-input interface feels wonderfully simple while your studio is simple. Then another person needs headphones. Another microphone becomes permanent. You want to keep your monitors connected while sending audio somewhere else. Suddenly, unplugging and reconnecting gear becomes part of recording.
And if that larger setup sometimes leaves your desk, think about how you'll carry the recording gear as carefully as you think about how many inputs you need. For location sessions, interviews, or mobile podcast work, I'd use an ORCA OR-28 portable audio bag for mobile recording to organize a compatible recorder or mixer alongside cables, batteries, and other small audio accessories. Its structured internal frame and multiple access points make more sense for a serious portable rig than throwing expensive recording equipment into an ordinary backpack.
That's where the EVO 8 starts earning its extra space. Along with four mic preamps, you get two headphone outputs and four line outputs. Those additions don't make a single vocal take inherently better, but they can make a larger studio much easier to live with.
Where EVO 8 Starts Feeling Like the Better Interface
-
Someone else regularly records with you?
Two headphone outputs make shared sessions much more practical than building everything around one headphone connection. -
Your microphones tend to stay connected?
Four mic preamps mean a larger setup can remain wired instead of making you repeatedly disconnect one source to accommodate another.
If two inputs already cover everything you record, you may not need to spend at the EVO 8 level at all. I'd also compare audio interfaces that keep the whole setup under $200 if your priority is getting the recording features you actually need without paying for extra mic preamps and routing that may sit unused.
-
You work with several microphones at once?
Smartgain becomes more valuable when you're setting levels across multiple channels rather than preparing just one microphone. -
Your monitoring setup is becoming more complicated?
Four line outputs give you routing possibilities that simply aren't available from the EVO 4's two line outputs. -
You hate rebuilding the desk for different sessions?
The real luxury of the EVO 8 is being able to accommodate more of your setup at once rather than constantly adapting a smaller interface to whatever you're recording that day.
The owner experiences you supplied make that difference especially clear. One EVO 8 owner runs three microphones plus an instrument while also using monitors and headphones. Another specifically moved from a two-preamp interface because they wanted two additional mic preamps. There's also an owner using the EVO 8 for a multi-channel podcast setup.
If you're mainly going live rather than recording music, I'd make the decision a little differently. Input count is only part of the equation when you're streaming. I'd also compare XLR interfaces designed around streaming workflows if easy mic control, live monitoring, and managing your audio while you're on-air matter more than having additional studio inputs.
Those are much stronger reasons to buy the EVO 8 than simply wanting the higher model number. In each case, the additional hardware is solving something happening in the studio every time it's used.
But More Control Doesn't Always Mean Simpler Control
There is a tradeoff. The EVO 8 has more capability, but Audient still concentrates a lot of operation around the large multifunction control and EVO software rather than giving every function its own physical knob.
A home studio doesn't become more capable just because the interface has more empty inputs. If you're trying to divide your budget between the interface, microphone, headphones, monitors, and the rest of the recording chain, I'd also compare audio interfaces that make sense for a budget home studio before automatically moving up to the EVO 8. The better buy is the interface that leaves you enough room to build the rest of the setup you actually use.
That approach works well for some setups, but it wasn't universally loved in the reviews you supplied. One owner said it took a little time to adjust to the sparse physical controls and using the app. Another disliked aspects of the volume-control workflow, while another noted that some monitoring control depends on the software.
So don't interpret more flexible as more knobs and buttons. If you prefer a minimalist control surface, both EVOs follow that philosophy. The EVO 8 simply gives that workflow more hardware to manage.
What Could Make You Regret Choosing the Wrong One?
Some limitations don't matter when you're reading a feature list. They matter six months later, when the same little inconvenience shows up every time you sit down to record.
There's also a situation where counting interface inputs may be the wrong question entirely. If you mainly record interviews, conversations, or podcasts away from your desk, I'd compare wireless podcast microphones built for recording on the move before expanding your XLR setup. A portable wireless system can be much easier to carry and position when your recording location changes from one session to the next.
That's why I'd look beyond the obvious EVO 4 versus EVO 8 differences before choosing. The reviews you supplied show that both interfaces can work extremely well, but they also reveal a few compromises that could matter depending on how you like to work.
Before You Choose EVO 4, Think About These
-
Your monitoring options are limited.
One EVO 4 owner specifically disliked that connecting headphones disabled the line/monitor outputs in their setup. That became a much bigger problem because they wanted to use headphones while also sending audio elsewhere.
If most of your sessions revolve around one microphone, I'd improve the way that microphone fits into your desk before paying for inputs you won't use. A good boom arm that keeps your microphone positioned where you need it can make a one-mic recording setup much easier to live with, especially when you record podcasts, voice-over, streams, or spoken content regularly.
-
A simple setup can become cramped surprisingly quickly.
EVO 4 makes sense while your studio revolves around a small number of sources and straightforward monitoring. Once you start adding people, destinations, or hardware, the lack of additional connections can become more important than the interface's compact size. -
Not every microphone will feel equally effortless.
One of the EVO 4 owners you supplied found the available gain somewhat weak for dynamic microphones. That's an individual experience rather than something I'd treat as a universal problem, but it's worth considering if your setup depends on a gain-hungry dynamic mic.
If those microphones are mainly for a podcast, input count is only part of the decision. Before choosing EVO 8 simply because your show needs more people on mic, I'd also compare interfaces built around multi-mic podcast recording. Podcast-focused options can approach microphone control, headphone monitoring, routing, and the overall recording workflow differently from a general-purpose studio interface.
Before You Choose EVO 8, Know What “More” Doesn't Give You
-
You get more capability, not a traditional control panel.
EVO 8 still relies heavily on its multifunction control and software. One owner said the sparse physical controls took some adjustment, while another specifically disliked aspects of the volume-control workflow. -
Some functions may pull you back to the software.
One supplied review noted that certain monitoring controls required the software. If you strongly prefer dedicated hardware controls for everything you touch frequently, make sure the EVO approach matches the way you want to work.
There's one setup where I'd question both EVO models: gaming. If your microphone is mainly for Discord, multiplayer chat, calls, and occasional streams, you may not need a separate interface and XLR microphone at all. A wireless gaming headset with genuinely good mic quality can handle your game audio, headphones, and voice communication in one device without building a separate recording chain around your desk.
-
Four outputs don't automatically solve every routing need.
One owner reported problems getting the output separation they expected for an Ableton Live performance setup. That's a single reported experience, so I wouldn't call it a general EVO 8 defect, but I'd investigate your exact routing requirements before buying it specifically for live-performance output duties.
One Compromise Both Models Share
Don't expect a heavy metal enclosure. Plastic construction comes up in the feedback for both models. What's interesting is that the opinions aren't completely negative: some EVO 4 owners still describe the interface as sturdy, solid, or heavier than expected, while other EVO 4 and EVO 8 owners would clearly prefer a more premium enclosure.
For a desk-based home studio, that may never bother you. If your interface is going into bags, mobile rigs, rehearsals, or environments where equipment gets knocked around, I'd give the construction more weight in the decision.
What About Drivers, Firmware, and Reliability?
There are negative reports here, but they need context. One EVO 4 owner reported persistent crackling and driver-related problems. One EVO 8 buyer reported failed firmware updates on two M1 Macs and was unhappy with Audient's email support.
At the same time, other reviews you supplied report successful operation: EVO 8 owners describe straightforward setup on Windows and other systems, and positive EVO 4 feedback also mentions working drivers and stable use. I wouldn't turn isolated failures into a claim that either model has a universal reliability problem.
What I would do is install the current Audient software and firmware required for your computer, test the interface thoroughly while you're within the seller's return window, and make sure your exact DAW, monitoring, and routing workflow behaves the way you expect.
The regret test is simple: EVO 4 is the riskier choice if your setup is already pushing beyond its monitoring and connection flexibility. EVO 8 is the riskier choice if you're paying for extra capability while expecting a completely different hands-on control experience. Neither mistake is really about sound quality, it's about buying an interface that doesn't behave the way your studio needs it to.
Pick the Limitation You Can Live With
Choose Based on What You’re Recording
Forget the model numbers for a moment. Picture your next recording session and count who or what needs to be plugged in at the same time. That will usually tell you more than another page of specs.
The EVO 4 and EVO 8 make sense for different-sized sessions. You don't need to buy the larger interface simply because your studio is important to you, and you shouldn't force everything through the smaller one just because your setup started simple.
Match Your Recording Setup to the Right EVO
-
You record vocals, voice-over, or one microphone:
Choose EVO 4. Two mic preamps already leave you room for another source, and the EVO 8's additional preamps won't make that single microphone inherently sound better. -
You sing and play an instrument:
Choose EVO 4 for most setups. If two simultaneous recording channels cover the performance, there isn't much reason to move up solely for additional inputs. -
You record two-person conversations or podcasts:
EVO 4 can be enough. Two microphones fit naturally within its two-preamp design. However, I'd move toward EVO 8 if you expect guests to turn that two-person show into a three- or four-mic production. -
You record a three- or four-person podcast:
Choose EVO 8. Four mic preamps let each person have a dedicated microphone channel without building the session around a two-preamp limitation. -
You produce music by recording one part at a time:
Choose EVO 4. A large project in your DAW doesn't require a large number of physical inputs when you're overdubbing the instruments separately. -
You record musicians performing together:
Choose EVO 8. Vocals, acoustic instruments, additional microphones, and other sources can quickly push a live session beyond what two mic preamps comfortably handle. -
You want a compact interface for a small desk or mobile recording rig:
I'd lean EVO 4. You're keeping the part of the EVO experience that matters for a small recording chain without carrying connections that your sessions don't require. -
You have a growing home studio with multiple people, headphones, and monitoring needs:
I'd lean EVO 8. This is where its four mic preamps, two headphone outputs, and additional line outputs become everyday workflow advantages rather than unused specifications.
There's One Question That Usually Settles It
Ask yourself: “What is the most complicated session I realistically expect to record?”
Not the studio you might build years from now. Not the session you could theoretically record. Think about what you're actually preparing to do.
If that session still fits comfortably into two mic preamps, I'd buy the EVO 4 and put the rest of your budget toward the microphone, headphones, room, or other gear that can make a bigger difference to your recordings.
If you can already name the third and fourth microphones that need to be connected, or you know you'll regularly have another person beside you who needs headphones, the EVO 8 isn't unnecessary future-proofing anymore. You're buying capacity your sessions can actually use.
Small Sessions or Room to Expand?
Final Verdict: EVO 4 or EVO 8?
For most solo home studios, I'd buy the Audient EVO 4. Not because the EVO 8 isn't better equipped, but because you shouldn't pay for a bigger recording setup when your actual sessions still fit comfortably inside two mic preamps.
If you record vocals, voice-over, guitar, instruments one at a time, or a two-person podcast, the EVO 4 already covers the jobs that matter. You still get the clean EVO recording approach and Smartgain, and moving to the EVO 8 isn't something I'd recommend simply because you're hoping for better sound from one microphone.
The EVO 8 is the one I'd buy when your studio has genuinely become bigger. Four mic preamps, two headphone outputs, and four line outputs make much more sense when you're recording several people, capturing musicians together, or building a setup where additional monitoring and routing are useful every week.
That's the dividing line I'd use: don't buy the EVO 8 for recordings you might make someday. Buy it when the way you record today already gives those extra connections a job.
Choose EVO 4 If...
- You normally record one or two sources at once
- You work alone most of the time
- You overdub instruments instead of recording everyone live
- You want a compact interface for a straightforward home studio
- You have no immediate need for four mic preamps
Choose EVO 8 If...
- You genuinely need three or four microphones at once
- You record multi-person podcasts or musicians together
- Two headphone outputs would improve your sessions
- You need the flexibility of four line outputs
- Your current setup is already pushing beyond two inputs
EVO 4 for Most. EVO 8 When You Need More.
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Frequently Asked Questions About Audient EVO 4 vs EVO 8
Is the Audient EVO 8 better than the EVO 4?
Does the EVO 8 sound better than the EVO 4?
How many microphones can I use with the EVO 4 and EVO 8?
Is the EVO 4 enough for a home studio?
Should I get the EVO 4 or EVO 8 for podcasting?
Which is better for recording vocals and guitar?
Do both the EVO 4 and EVO 8 have Smartgain?
Does the EVO 8 have two headphone outputs?
Is the EVO 8 worth buying for future-proofing?
Which one would I choose: EVO 4 or EVO 8?
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