Focusrite Scarlett 2i2 (4th Gen) USB-C Audio Interface Complete Recording Bundle with StreamEye BOOMARM1 Boom Arm, Cans50 Studio Headphones, Gator RI-POPFILTER, and Four XLR Cables

The Focusrite Scarlett 2i2 (4th Gen) Complete Recording Bundle for Home Studio Builders

The Scarlett 2i2 (4th Gen) is the most-recorded-on home interface in the world for a reason — two combo XLR/TRS inputs, 69 dB of clean preamp gain, Auto Gain that sets the level in one press, and Clip Safe that pulls the gain back 96,000 times a second before a take is ruined. Buy the interface alone and four real-world purchases still stand between the box and the first take: a way to position the microphone at the desk without a tripod stand crowding the workspace, a way to monitor without speaker bleed, a way to handle plosives on close-mic vocal takes, and the cables to wire the whole chain together. This bundle ships every one of those: the StreamEye BOOMARM1 27-inch aluminum boom arm to position the mic, the StreamEye Cans50 closed-back studio headphones to monitor, the Gator RI-POPFILTER to handle plosives, and two 10-foot and two 25-foot balanced XLR cables to cover desktop and across-the-room mic runs.

Auto Gain and Clip Safe Solve the Two Mistakes First-Time Recordists Always Make

Every new home recordist makes the same two mistakes: setting the preamp too low and ending up with a thin, noisy take, or setting it too high and clipping the loudest moment. The Scarlett 2i2 (4th Gen) solves both. Press Auto Gain on a channel, sing or play at performance volume for ten seconds, and the preamp finds optimal level automatically. Clip Safe runs in the background after that — if a sudden peak threatens to clip, the 96,000-checks-per-second monitor pulls the gain back fractionally before the converter sees the overload. The Dynamic Gain Halos around each knob flash visual confirmation when either feature engages. The result is takes that go into the DAW at the right level, every time.

69 dB of Preamp Gain Drives Every Dynamic Microphone — Including the SM7B

The 4th-gen Scarlett preamps moved from the previous generation's ~56 dB of gain to a full 69 dB, with -127 dBu equivalent input noise. The practical translation: broadcast dynamic microphones like the Shure SM7B that historically needed an inline preamp now run directly into the 2i2 with usable headroom. Condenser microphones with 48V phantom power capture cleanly with no audible self-noise even at high gain settings. Air mode — toggleable per channel — adds a transformer-style boost to the upper-midrange and high end, the same circuit that gives expensive console preamps their characteristic brightness on vocals and acoustic instruments.

BOOMARM1 Replaces the Tripod Stand That Crowds Every Home Studio Desk

The boxed Scarlett 2i2 Studio bundle ships with a small tripod stand that occupies the center of a desk and forces every workflow around it. The BOOMARM1 clamps to the desk edge instead, swings out of the way when the session ends, and reaches 27 inches from clamp to mic tip — enough to position the microphone at speaking distance whether the desk is shallow or deep. Aluminum-alloy construction holds 2.8 lb of microphone, which covers every common desktop XLR mic from the AT2020 to the SM7B with shock mount. External tension springs are quiet during repositioning — no creaking, no spring noise leaking into the recording — and the detachable universal mic clip with 3/8-inch adapter fits both standard 5/8-inch threaded mics and European-thread condensers.

Cans50 Closed-Back Headphones Keep the Click Out of the Mic

Tracking with open-back headphones in front of a sensitive condenser is how amateur recordings end up with the click track bleeding into the vocal. The Cans50's closed-back circumaural design seals the 50mm drivers against the head, blocking ambient room sound and trapping the playback so the microphone never hears it. Frequency response runs 15Hz to 25kHz with clear lows and crisp highs — wide enough to evaluate the full spectrum of the recording while tracking. 32-ohm impedance pairs comfortably with the 2i2's dedicated 1/4-inch headphone output, which has its own independent volume control and zero-latency monitoring. The earcups fold flat for storage and the included 1/4-inch adapter mates directly with the interface.

RI-POPFILTER Stops Plosive Retakes Before They Start

Close-mic vocal work amplifies the air burst on every P, B, and T consonant — without a pop filter, those plosives hit the diaphragm and produce a low-frequency thump that has to be edited out or retaken. The Gator RI-POPFILTER's 6-inch nylon mesh screen scatters the air burst before it reaches the capsule. The 11.5-inch fully flexible gooseneck positions the screen at any distance and angle, and the padded C-clamp grips standard mic stand tubes and boom arms without scratching the BOOMARM1's finish. Single-layer mesh balances plosive rejection with high-frequency transparency, so the top end stays intact on bright condensers.

Two 10-Foot and Two 25-Foot Balanced XLR Cables Cover Every Mic Run

This bundle ships with two 10-foot SSAV-MIC-10 balanced XLR cables and two 25-foot Calrad 55-675-25 balanced XLR cables. The 10-foot length sizes for desk-to-interface runs where the microphone sits on the boom arm and the 2i2 is within reach. The 25-foot length handles studio-distance work — vocal booth to control room, drum room to console, or instrument-across-the-floor takes. All four cables are balanced 3-pin XLR male-to-female with twisted-pair conductors and full shielding, so common-mode noise rejection cancels electrical and RF interference across the entire run regardless of length.

How the Bundle Works as One System From Capsule to Headphone

Clamp the BOOMARM1 to the desk. Thread the microphone onto the universal mic clip. Run the 10-foot SSAV-MIC-10 from the mic down the arm to channel 1 or 2 of the Scarlett 2i2. Press Auto Gain. Plug the Cans50 headphones into the 1/4-inch headphone output on the front of the interface. Attach the RI-POPFILTER to the boom arm three to four inches in front of the capsule. Record. Every signal path is balanced where it matters, every accessory is positioned where the workflow needs it, and nothing is missing for the buyer to source separately before the first take.

For First-Time Home Recordists, Studio Upgraders, and Comparison Shoppers

First-time buyers get everything needed to start recording in one purchase — no second order for a stand, headphones, or pop filter. Upgraders moving from a USB headset or a desk-mounted tripod stand get a professional-grade workflow with proper signal isolation and proper monitoring. Comparison shoppers get the headline 2i2 features (69 dB preamps, 24-bit/192kHz, Auto Gain, Clip Safe, Air mode) plus the four real-world accessories that complete the chain. Plug in. Set Auto Gain. Record.