"Identical to" and "modeled after" sound like two very different statements to me.

Even if everything else that an interface does was "free", the interface comes with two preamps. So the preamps inside could only be worth $250 max. And of course that other stuff is not free.

The Harrison Console strip costs about $2000 new. For one channel. And it is not an interface. Granted, it has an EQ as well as a preamp. So is the Harrison strip $250 worth of preamp and $1750 worth of EQ? That seems unreasonable. Are they losing money on their interfaces? Are they vastly overcharging for their channel strip?

I will stick to my original advice: Buy an interface for its features, don't sweat it for front end. If you care about preamps, make sure your interface has a line input.

Identical would be the Audient ID interfaces. That is one interface that I think does make a difference in the $300-$500 because of the identical preamp to their most expensive interface/board. It is one of the few exceptions I think on the market. I think you will hear a difference from your previous interface. David Dearden designed it - it is an impeccable preamp. It is not the only great pre and not for every need (certainly doesn't sound like a Neve or API if you want that flavor), but you can record a platinum record for sure with those pres.

https://audient.com/technology/mic-pre-technology/

? Outside of the obvious of different features, because of capitalism. You can say that about any product. There's a reason marketing/advertising is a multi-billion (trillion?) dollar business. It's all about convincing your their product is better and worth the money and the others aren't. Sometimes they're right, but quite often, they aren't.

tbh I don't agree with anything you said. I've said it before and say it again: "you get what you pay for" simply doesn't apply with any real consistency in the music production world anymore. Don't fall for that trap. The odds of noticing a diff in sound quality from one interface to the other are IMO remote.

You can record a platinum record with any pre.

Well...not agreeing with anything I've said - that's quite something but certainly you are entitled to your opinion. Being in the business of audio engineering for decades and having used tons of gear from original vintage Neves, Studers, SSL consoles, and high-end interfaces/converters down to cheap pres and interfaces, I can tell you from my perspective and people that I have worked with who have put out platinum and gold records (so not just my opinion or a magazine's/person trying to get views/hits/support companies, that there is a difference between products. I will agree that price is not the main factor all of the time, but it would be shocking to me if you couldn't hear the difference between a $29 Behringer interface and a high-quality one...or for instance a Mackie/Behringer EQ and a sweet-sounding EQ that can be pushed more. The Mackie/Behringer EQ on a board is instantly harsh when pushed - most pros know this and can hear it quickly. Does marketing play a huge part with people trying to sell their gear, of course! So - I don't buy into marketing...I use what I hear works for what I am doing. I find $500 microphones that have the sound I want and don't feel I have to have a $10,000 microphone because it is marketed as being the mic that will make my work sound like a hit! Because I'm a professional, I don't buy into hype; like others I just know what I need and use it. So I do agree with some of your points; they are valid. But I don't think that all of mine are disagreeable to most pros - I think they line up with most pros. I won't say much more on the subject because if anything at any price point sounds and does the same thing for you...then that is okay then for you. It is okay if you disagree Have a blessed and wonderful night!

Being in the business of audio engineering for decades and/or putting out platinum and gold records doesn't make one correct. But you are also certainly entitled to your opinion, no more or less than me or anyone else.

And please note I didn't say there are never any differences in quality at different price points; that would be ridiculous. Only that there is no consistent correlation between price and quality. And I think some blind tests would be revealing to many who feel otherwise...

To get back to the OP’s question…

There are a lot of great choices for $500 but a few are maybe a little more of a stand out in my mind.

My thoughts of a few
1. My original post - Audient. Specifically in your price range the Audient ID24 for $400. Why? Great sounding smooth preamps with 60 dB of gain, it is expandable via ADAT, stable drivers, a fantastic-sounding jfet DI for your bass and it also has inserts. It’s a lot of bang for the buck. I have used a lot of the Audient range from interfaces to their consoles - great stuff.

2. The original UAD Solo you referenced for $500 - It is a great little box…although not expandable it has two of their Unison pres and a good software package from UAD. The Unison Pres will give you some nice-sounding options recording in. As far as USB vs.Thunderbolt I believe the USB only works on Windows and Thunderbolt on Mac…so that will dictate that choice. In our B and C studio we have two Apollo 8p’s - work great and sound great.

3. Focusrite Scarlett as you mentioned - any of them honestly sound decent and are a great price. I have students that get these and get some good-sounding tracks from them.

4. IK Axe I/o plus amplitude 5 max and tonex 5 max $449 - as a guitarist you get a lot…not expandable but…Reamp, variable impedance and a great suite and software for just $50 more than the nine software version. I haven’t used it or have any experience with it, but might be worth looking at.

5. Motu M series - as someone else mentioned these are great little workhorses that have a clean sound. These are generally reviewed like the Scarletts as a good all around choice and like those you can get great sound for $199.

Hopefully that helps. Some people have offered some good options so you have a lot to pick from. You also could pick up the phone and call a place like Sweetwater to tell them your price range and needs/desires and they will help you. If you pick up something a little cheaper you can put some money into something else like a little room treatment which is really important to get a good recording. Let us know what you decide!

Blessings…!

Well to be fair, you did say, “tbh I don’t agree with anything you said”. That’s a pretty emphatic and encompassing statement. Part of what I said in the post you quoted was, “ Equally, the thickness of Neve pre-amps aren't the same as the focusrite Scarlett or a Behringer interface, etc. While I do think sometimes it is splitting nails talking about some of the lower-end interfaces - there are definite differences in both pres and conversion.” - so you might understand my confusion…as if you don’t agree with everything I said that would include the above.

I don’t think my experience makes me “right” over anyone - I was giving a point of reference and just saying that I and many other professionals can hear the differences and so choose the equipment that we hear works for the right situation.

I do agree that there is no consistent correlation between price and quality…and also agree with you about people getting caught in marketing hype. That’s where experience can help someone like the OP. I’m just trying to help the OP make some decisions based upon what he told us he wanted to spend. I know you are trying to help too. So - different points of view are good. I found a shootout - so posted in next post.

I just found a shootout of this range, so I’m posting it here because it will help the OP. Unfortunately the Audient ID range isn’t included and the preamp is very different than the Evo that is presented (which I don’t care for that preamp). But here it is… and a friend could help play them blindly for anyone that wants to do a blind test.
https://www.sweetwater.com/insync/be...aces-shootout/