The 2-in/4-out USB audio interface built for the stage, not the studio. Pedalboard-friendly. Dual independent headphone sends. No compromises where it counts.
Good enough everywhere. Exceptional where it matters LIVE.
You (might) have made it work.
But it shouldn’t be this hard.
Do any of these scenarios sound familiar?
You’ve gaffer-taped a Scarlett to your pedalboard. Can we call it “road-worn”?
You’ve run a headphone split of your FOH mix to your drummer and hoped for the best. The best did not happen.
The bag full of DIs and cables you lug around—because your interface only has unbalanced outs—now weighs more than your rig does. 😖
Your carefully-programmed set piece falls apart because someone couldn’t hear the cue… Again. 🙄
Soundcheck? Nah… I’m still setting up my power adapters and running cables to my DIs… 🤬
You’ve invested more in adapters and splitters than your audio interface cost. The irony is not lost on you. (Alanis was right, after all…)
Studio interfaces are, by their very definition, built for the studio.
You need something built for the reality of live performance—the noise, the chaos, the “we’re on in five!” moments.
Designed for the spec sheet gig.
Every feature is here because it earned its place: you need it on stage. Nothing is here just because it looks good on the spec sheet.
Built for your setup.
However you perform, the OG IO adapts to your workflow.
Loop Performer
Laptop running Ableton. Vocals through with live FX. Synth loops to FOH. Click to your drummer’s ears. One interface handles it all—exactly how it was designed to be used.
Singer-Songwriter
Vocals through your DAW for special delay and vocoder effects. Direct balanced outs to FOH. Cue monitoring so you stay locked to your backing tracks.
Electronic Producer
Synths and sequences to FOH, click to your vocalist’s ears—keeping everyone locked in, even through that acapella section. No splitters, no compromises… no egg on faces.
By the numbers.
We still care about specs… but our focus is on the ones that matter on stage.
(mic/instrument switchable)
(line level)
(independently assignable)
(4-out = 2 × assignable stereo outs)
(per channel, dip switch selected)
(5.7" × 4.8" × 1.5")
What’s not included (on purpose)
No phantom power. Saves cost on something you won’t need live—most setups use dynamics, ribbons, or passive DIs.
No SPDIF. No MIDI. No features that add complexity for limited benefit live.
No 192kHz sampling. 24-bit/96kHz is well sufficient for the noise floor of a typical live room.
No “characterful” preamps. Clean and transparent, just what you need in a live environment.
Want to see this built?
The OG IO is in concept design phase. Express your interest to help shape the product, or sign up to be notified when it’s ready.