Focusrite Scarlett Solo 4th Gen USB-C Audio Interface Recording Bundle with StreamEye Cans50 Studio Headphones, BOOMARM1 Microphone Boom Arm, Gator RI-POPFILTER 6-Inch Pop Filter, and 10-Foot Balanced XLR Cable

Focusrite Scarlett Solo 4G Headphones Bundle: Everything Around the Mic, in One Order

This bundle is for the home-studio buyer who already has — or is about to choose — their microphone, and wants the rest of the chain ready to go from day one. The Focusrite Scarlett Solo 4th Gen is the hero: a USB-C audio interface with a 24-bit/192kHz converter, a 57dB Air-mode preamp, and the cleanest single-input signal path Focusrite has shipped at this price. Around it, the bundle adds the StreamEye Cans50 closed-back studio headphones for monitoring, the StreamEye BOOMARM1 to position a desktop XLR microphone, the Gator RI-POPFILTER for plosive control on close vocal work, and the 10-foot SSAV-MIC-10 balanced XLR cable to wire the mic into the Solo. Bring your own mic; everything else is here.

The Scarlett Solo 4th Gen Preamp Is What Sets This Generation Apart

The Solo 4th Gen runs 57dB of gain on a single combo XLR/TRS input with -127dBu equivalent input noise — quiet enough to comfortably push a Shure SM7B or a Rode PodMic without daisy-chaining a Cloudlifter. Air mode is split into two switchable options on this generation: Presence adds a transformer-style top-end lift modeled on the classic Focusrite ISA preamp, and Harmonic Drive adds analog saturation for vocal warmth. Engage one, the other, or both — the difference is audible on the first take. The Hi-Z input on the same combo jack delivers 1MΩ impedance for direct guitar and bass, preserving the full pickup character that a low-impedance input would dull.

Dynamic Gain Halos Replace the Clip Meter and Save the Take

Look at the gain knob during a take and you see a ring of light around it. Green means the signal is clean, amber means it is getting hot, and red means the next transient will clip. The visual is built into the knob itself so there is no separate LED meter to read, no software window to check. It is the kind of refinement that does not show up in a spec sheet but pays off on every session — buyers consistently call this out as the feature that closed the upgrade decision from earlier Scarlett generations.

USB-C, Bus-Powered, Plug-and-Play With Mac and Windows

The Solo bus-powers from a single USB-C cable. No wall wart, no driver install on macOS, no driver install on Windows 10 or 11. Focusrite Control 2 handles routing and Air-mode selection from the desktop, the Hitmaker Expansion software bundle ships free with the interface (Ableton Live Lite, Auto-Tune Access, Antares preset packs, the full Focusrite plug-in suite), and the Loopback input routes computer playback back into the recording path for podcasts, screen captures, and live-stream commentary without buying a separate mixer.

StreamEye Cans50: Closed-Back Monitoring Without Bleed

The Cans50 is a closed-back, over-ear studio headphone built around a 50mm driver and a 15Hz to 25kHz frequency response. Closed-back isolation matters when there is a microphone in the room — open-back headphones leak audio back into the capsule, and that leak ends up in the recording. The Cans50 passively isolates so the playback monitor stays in the singer's head, not in the take. A 1/4-inch adapter is in the box for the Solo's headphone output, the steel headband distributes weight across long sessions, and the earcups fold flat for transport. The soft headphone bag protects them between gigs.

StreamEye BOOMARM1: 27 Inches of Reach, Whisper-Quiet Springs

The BOOMARM1 mounts to any desk edge up to 2.95 inches thick and reaches 27 inches from the clamp to the mic tip — long enough to bring a broadcast dynamic or large-diaphragm condenser into speaking position regardless of how the desk is arranged. The capacity is 2.8 lb, which covers virtually every desktop XLR microphone on the market: PodMic, NT1 Signature, SM7B with a shock mount, AT2020, and the entire Focusrite CM25 / Mackie EM USB / Audio-Technica AT2035 class. External tension springs replace the noisy internal coils common at this price point — repositioning the arm during a session is silent, with no creak or spring squeal leaking into the take. The detachable universal mic clip and the included 3/8-inch and 5/8-inch thread adapters mean it fits whatever mic you eventually mount.

Gator RI-POPFILTER: Plosive Control Where Close Vocal Work Lives

Close vocal recording amplifies plosives. The 6-inch single-layer nylon mesh screen scatters the air bursts from P, B, and T sounds before they reach the capsule, and the 11.5-inch powder-coated steel gooseneck holds the filter at whatever distance the take requires. The padded C-clamp grips the BOOMARM1's tube without scratching, and the single-screen design preserves top-end clarity that heavier dual-mesh filters can dull. Plug it onto the boom and forget it is there.

SSAV-MIC-10: 10-Foot Balanced XLR — Clean Signal to the Preamp

The SSAV-MIC-10 is a 10-foot balanced XLR cable, male-to-female, 3-pin standard wiring. Balanced operation runs the audio on two opposite-polarity conductors plus a shield — common-mode rejection cancels hum, fluorescent buzz, and RF interference across the full run. Ten feet is the right length for a desktop recording setup: long enough to route the cable along the desk edge without slack pooling under the keyboard. Heavy-duty black PVC jacket, standard XLR connectors that fit every professional mic, mixer, and interface on the market.

How the Bundle Functions as a Studio

The buyer's microphone clips into the BOOMARM1, the SSAV-MIC-10 carries the signal from the mic XLR output to the Scarlett Solo's combo input, the Solo's 57dB preamp brings the level up, the Air-mode switches add presence or harmonic content as needed, the Hi-Z input is available on the same jack for guitar takes, the headphone output drives the Cans50 for zero-bleed monitoring, the Dynamic Gain Halos confirm the level is clean, and the USB-C cable delivers the audio to a DAW running on Mac or Windows. The pop filter clips to the boom for close-mic vocal sessions. One bundle, the complete signal chain.

For the Home-Studio Buyer Who Already Owns the Microphone

This bundle skips the microphone because that decision is personal — a dynamic for spoken word, a condenser for vocals, a USB mic for streaming, an SM7B for podcast. Bring whichever one fits your voice and your room, and the rest is here: interface, headphones, boom arm, pop filter, cable. First-timers get the Hitmaker software bundle and the Dynamic Gain Halos to learn on. Upgraders get the Air-mode preamp that finally replaces the cloudlifter or the cheaper interface. Comparison shoppers get hard numbers — 24-bit/192kHz, 57dB gain, -127dBu EIN, 1MΩ Hi-Z, 50mm headphone drivers, 2.8 lb arm capacity — and a single price point. One order. Sit down, plug in your mic, record.