Focusrite Scarlett 2i2 Studio 4th Gen Recording Bundle with Adam Audio T8V 8" Powered Studio Monitors and Cables

Focusrite Scarlett 2i2 Studio 4G + Adam Audio T8V Pair: Bass-Capable Monitoring for the First Home Studio

The 4th-generation Scarlett 2i2 Studio bundle gives a first-time engineer everything to record a track — interface, mic, headphones, and a full Hitmaker software stack — and this bundle adds the missing piece: an Adam Audio T8V 8-inch stereo pair that reaches 33 Hz without a subwoofer, plus the two TRS-to-XLR interconnects required to wire the interface monitor outputs to the monitors, plus a 10-foot balanced XLR mic cable to keep the CM25 MkIII (or any upgrade mic) feeding the interface from across the room. Sit down, plug in, hear the kick drum.

4th-Generation Mic Preamps with 69 dB Gain and -127 dBu EIN

The 2i2 4th Gen pairs are not the 3rd-gen unit with a new badge. Focusrite revoiced the preamps for 4th gen with 69 dB of gain range and -127 dBu equivalent input noise — quiet enough to drive a broadcast-grade dynamic like an SM7B or a ribbon mic without a Cloudlifter or separate gain stage. The Air mode adds Presence (analog-modeled top end) and Harmonic Drive (transformer-style even-order saturation) at the press of a button on each channel.

Auto Gain, Clip Safe, and the Dynamic Gain Halos

Auto Gain listens for 10 seconds and sets input level automatically — no more headphone-monitoring guesswork while squaring up the preamp knob. Clip Safe runs 96,000 checks per second and pulls gain back the instant the converter sees a hot transient, so a kick hit or a vocal yell doesn't lose a take. The dynamic gain halos circle each input knob with a real-time level reading visible from across the room — you don't need to lean into the desk to see whether the mic is hot.

Adam Audio T8V Pair: 33 Hz Bass Extension and U-ART Ribbon Tweeter

The included pair of Adam Audio T8V 8-inch nearfield monitors steps up to a bigger woofer and deeper bass than the 5- and 7-inch T-Series siblings. Class-D bi-amplification delivers 70W to the 8-inch polypropylene woofer plus 20W to the U-ART tweeter — 90W per monitor, 118 dB peak SPL per pair. Frequency response runs 33 Hz to 25 kHz, which means kick drum fundamentals, 808 sub bass, and synth bass land on the monitors instead of getting lost below their reach. The U-ART (Universal Accelerated Ribbon Tweeter) uses a folded ribbon diaphragm with 4:1 velocity transfer for non-fatiguing top-end detail. The HPS waveguide (carried directly from Adam's S-Series flagship monitors) widens the off-axis sweet spot so the mix translates outside the listening seat. A DSP-based 2.6 kHz crossover handles the woofer-to-tweeter handoff with phase coherence the analog T7V doesn't have.

Front-Ported Cabinet — Plays Closer to a Wall Without Booming

Unlike the rear-ported T5V and T7V, the T8V uses a front-firing bass-reflex port. The practical payoff: the monitor can sit closer to a wall or against a bookshelf without the rear port reflecting low-frequency energy into a cabinet boom. Bedroom and small project studios rarely have the 18-24 inches of behind-monitor air a rear-ported design ideally needs — the T8V tolerates the real-world room. Rear-panel high-shelf and low-shelf trims (±6 dB via room-EQ DSP) tune the response to desk and wall reflections.

Two Hosa STX-105M Cables: Wire Interface to Monitors Without Adapters

The 2i2's balanced 1/4-inch TRS monitor outputs and the T8V's balanced XLR inputs don't share a connector type out of the box — without the right cable, the buyer is back at a music store. This bundle solves it: two Hosa STX-105M 5-foot balanced TRS-to-XLR interconnects. Each cable is OFC (oxygen-free copper) conductor with an OFC spiral shield and nickel-plated plugs, which means the desktop-to-monitor run rejects EMI from computer screens, Wi-Fi routers, and LED desk lights. Five feet is the right length for a desk-mounted interface running to monitors at ear height on stands or pads — short enough to avoid a tangle, long enough to leave slack for tilt adjustment.

10-Foot Balanced XLR Microphone Cable for the CM25 MkIII

The retail Scarlett Studio box ships with a short interface-to-mic cable. The included 10-foot SSAV-MIC-10 balanced XLR is the upgrade — long enough to place a mic stand across the room instead of in front of the interface, balanced 3-pin XLR with common-mode noise rejection, and nickel-plated metal connectors that don't fatigue at the strain points. Vocalists, acoustic instrumentalists, and podcasters get the room placement they need without compromising on signal noise.

How the Bundle Works as a System

The CM25 MkIII condenser (from the Scarlett Studio retail box) plugs into the 2i2's XLR input via the 10-foot SSAV-MIC-10 cable. The 2i2 captures at 24-bit/192 kHz with Auto Gain handling the level. The interface's TRS monitor outputs feed both Adam Audio T8V monitors via the two Hosa STX-105M TRS-to-XLR interconnects. The included SH-450 headphones plug into the 2i2 for tracking and zero-latency direct monitoring during overdubs. Bus-powered USB-C connects the interface to a laptop or desktop. Every signal-chain link is in the box.

Who This Bundle Is For

This is the bundle for the first-time home recordist who wants bass-aware monitoring without adding a subwoofer — beatmakers, electronic producers, hip-hop engineers, and anyone whose mix lives or dies on the sub-50-Hz region. It's the upgrade path for a buyer who outgrew 5- or 7-inch monitors and finally wants to hear the low end of the mix in the room instead of on headphones. And it's the comparison shopper's complete package — interface, mic, headphones, monitors, all interconnects, and a six-figure software bundle — wired the way a working engineer would wire it. Plug in. Record. Hear the bass.