PreSonus Quantum HD 2 review: Designed with guitarists in mind

In this PreSonus Quantum HD 2 review we go over the sound and features of one of the best small format next-generation interfaces. And it’s especially appealing to guitar players.

PreSonus audio interfaces have been around since 2002 with the introduction of the FireStation. They’ve released a variety of different types of interfaces over the years. These include the Quantum series, which came to market in 2017. With the Quantum HD, the second iteration in the line, they take everything up a notch. 

I tested one of the smaller models in the lineup, the Quantum HD 2. And make no mistake, this beauty is small but mighty. Designed in partnership with PreSonus’ parent company Fender, the HD 2 offers appealing features that most desktop interfaces skip on – especially when it comes to recording guitar.

It’s a 20×24 (simultaneous I/O) USB-C audio interface that operates at 32-bit with a sample rate that runs up to 192kHz. Also included is a Studio One Pro 7 perpetual License, so with the purchase you can start recording right out of the box! 

PreSonus Quantum HD 2 design

As soon as I started the unboxing, the first thing I noticed was the durable enclosure. It’s made of a powdered metal that’s definitely sturdy enough to support situating gear on top of it if needed. The front panel buttons don’t feel flimsy, so the unit’s build quality immediately caught my attention.

The front panel offers two DI channels for guitar or bass, co-developed with engineers from Fender. But most of your signal routing will be done through the combination microphone/line level inputs on the rear. Just beware that using the front panel inputs nulls the corresponding rear channel input. 

Two ¼” outputs let you connect mains monitors, and the other two ¼” outputs let you send signal to outboard gear like a compressor or EQ. An included breakout cable provides MIDI and S/PDIF integration. But that’s not the most unique design feature of the HD 2.

When I was shopping around for my last interface I was looking for a compact two or four channel unit with optical I/O so I could connect one of my legacy Focusrite pieces to increase the channel count. It was hard to find one, and the few I did didn’t appeal to me for various reasons.

If only the Quantum HD 2 was available then! It has two channels of optical I/O which can easily expand this interface to more than just two channels. This is a nice value add. Depending on your needs, it can be your main interface until an upgrade is absolutely necessary.

Most audio interfaces have a power supply that simply plugs in. The HD 2’s is designed with threads that screw into the enclosure, so you don’t have to worry about accidentally unplugging it.

It would be nice if the combination inputs were accessible from the front panel, but considering the re-amping capability that most interfaces don’t offer, it’s a minor inconvenience. Users might consider hardwiring XLR or TRS cables to minimize having to access the rear of the interface.

PreSonus Quantum HD 2 features

In every way, the Quantum HD 2 steps up the feature set from the original Quantum line. One of the most useful things about it is the I/O. Two ¼” DI and combination inputs, dual re-amp outputs, a pair of monitor and line outs, optical that passes eight audio channels through each port, and MIDI and S/PDIF via breakout cable round out a robust setup for a two-channel desktop interface.

The high-definition MAX-HD pre-amps are redesigned and have 75dB of gain on tap. So getting a strong signal from mics that need more gain – like ribbon microphones – shouldn’t require any additional gear. 

Low-noise converters let you create the cleanest recordings, and custom low-latency drivers eliminate any digital jitter or the dreaded pops and clicks.

A front panel Auto Gain button lets you set levels quickly based on the volume of the source signal you feed it. All you have to do is hit the button and play the part. The interface listens to it and adjusts the gain accordingly. It’s easy to use and surprisingly accurate, great for catching ideas quickly. But for more serious recording work dialing in the gain manually isn’t a bad idea.

Here’s another feature you rarely, if ever, see on interfaces. The front panel also houses two re-amp outputs! This allows you to send the signal out from your DAW to experiment with different guitar or bass amps and effects pedals. Or move microphones around to find a sweeter spot on the speaker.

Metering

The LED metering is clear and ranges from -40dB to +3dB, with a clipping indicator above that. A large volume knob provides two halo indicators in a dark blue that’s easy to see, This comes in handy no matter how “vibey” your studio space is. 

A solid concentric circle outlines the physical knob, and an incremental halo on the interface indicates the overall output level. And this thing gets loud. Much louder than my M4. This is overkill in most cases, but it’s still a nice option.

Pressing on the knob cycles through different metering views. This includes input for the two channels and L/R mains output, the four total outputs as well as the two front panel input DIs, and ADAT input and output over 16 channels each.

It’s worth mentioning an ancillary but very cool feature. The metering panel itself is flush with the edge of the interface enclosure. But depending on where you’re standing it almost looks 3-D! This gives you an enhanced viewpoint if you’re not looking directly at it. Like if you’re walking around the room while analyzing mix playback.

PreSonus Quantum HD 2 sound

Sound quality is the most important factor in an interface, and the HD 2 doesn’t disappoint. It responds well to all types of microphones, and onboard phantom power lets users run large-diaphragm condensers and their small-diaphragm counterparts.

I tested it in multiple scenarios, and it sounded great in every one. From standard music production, to using it as the audio centerpiece of my home theater system, all the way to video chats with family, everything was running through my KRK active nearfield monitors.

As I listened back to some test vocal tracks I recorded through the interface using my Warm Audio WA-47 Jr. I was impressed with the overall clarity. The frequency response of this microphone is hyped a bit in the lows and low midrange, which lends it a darker tone quality. Through the HD 2 it wasn’t quite as dark as they come through on my MOTU M4, and I found myself using a little less EQ after the fact.

Guitar and bass DI

After running through some of the sessions in my archive I tested out the DI with a guitar and bass. The DI is as responsive as other comparable interfaces I’ve tried. It doesn’t try anything new, but it’s reliable and the front panel inputs make it great for catching ideas quickly.

Re-amp feature

Next up was testing the onboard re-amping feature. If you’re not familiar with how to re-amp, a separate re-amp box is required to convert the impedance. With the HD 2 you don’t need a re-amp box. But there are still some signal routing moves you might have to make in your DAW.

I did some quick scratch tracks through the interface’s DI and sent the signal through the re-amp output. The test was through my Vox and Peavey amps. Honestly, I was impressed by the signal quality. If re-amping is a big part of your production workflow I recommend getting a dedicated re-amp box. But the onboard option is one of my favorite features of the HD 2.

Still curious, I then tested re-amping through my BOSS GX-10. This was really fun, as multi-effects offer many options. It was nice to not have to have my guitar in my hands when I was playing with settings.

Depending on certain variables you might have to change some parameters on whatever device you’re re-amping to, or ride some faders in your DAW, but for me this was minimal. Keep an eye on your audio metering, gain stage properly, and you’ll get the right levels with little effort.

The re-amp output works for any source signal too, so you can experiment with guitar effects on any source type.

As mentioned, the Max-HD pre-amps have 75dB of gain on tap. So there should be no issues with running mics that need a lot of gain like ribbon microphones or a model like the Shure SM7B.

Music and film playback

I then loaded up some reference tracks I use for mixing, so I’m familiar with their sound profile. The HD 2 reproduced everything faithfully, and sounded like I’m used to hearing.

One night during the course of testing this unit I decided to start winding down for the day and threw on a movie with a lot of heavy sound design. I wanted to discover how the HD 2 reproduced multiple types of film audio like foley, score, and dialogue. 

Needless to say it sounded great in my modest home theater setup, which also happens to be my recording space. There was great definition and separation, so it’s a slam dunk for home theater and hi-fi setups too.

Universal Control software

Even though it’s not mandatory to use the interface, the Universal Control app provides further control and metering from the desktop or mobile device. It also provides more robust routing options that aren’t available through the hardware alone.

Through the app you even get LoopBack functions. Podcasters and streamers will find the HD 2 just as useful as those who use it for music production.

Low-latency monitoring functions similar to monitoring direct from the hardware. And if you want to monitor from the DAW you can defeat it through the Mixer Bypass in the control software.

Verdict

While it has so many use cases, it almost seems like the Quantum HD 2 is designed for guitarists. Re-amp functionality is honestly an onboard feature I’ve never seen in an interface, and adds a lot of value for both guitar and bass players.

The build quality is solid and the layout is clean, even if the rear-only combination inputs are a bit inconvenient. But for a desktop interface that’s not a dealbreaker.

One of my favorite features is the expandability. Through the optical I/O you can easily graduate from two channels up to 18. Being a two channel unit, integrating outboard studio gear like compressors and EQs isn’t really on the table, but with how good plugins are these days that shouldn’t affect the purchase decision.

The control software, like most, presents some initial hiccups until you get used to it. But unless you’re doing full band productions you can get by fine without it as long as you know your DAW.

If you’re a guitar player looking for a new interface this model should be on your short list. The re-amp feature alone opens up all kinds of creative tone chasing options. 

But the bottom line is it’s a great, all around two channel desktop interface. The optical expandability means it can be a long-lasting centerpiece for any studio, without requiring an upgrade for quite a while.