REPRINTED FROM APRIL 2007 WWW.PROAUDIOREVIEW.COM

The power supply in the AD-16X and the Apogee Symphony DA-16X is a specially designed Synchronous Switching power that works in conjunction with Apogee’s low jitter clock and filtering Recording System by Russ Long technology. It provides better heat and noise performance and an improved transient This competitively priced, high-performance response, thus creating an ideal power system for first-rate conversion. native DAW is a challenge to the industry The AD-16X incorporates Apogee’s classic pervasiveness of TDM systems. SoftLimit and UV22HR features. SoftLimit is an analog peak limiter that enables the cap- Apogee Electronics has unveiled the regardless of the exact configuration. ture of an additional 4-6 dB of level without Symphony System, perfectly timed with the any overs. UV22HR is Apogee’s industry rollout of ultra-fast, multi-core Intel-based | FEATURES standard bit-reduction/dithering technology The Symphony System is made up of three for CD and DVD mastering; UV22HR can also components: first, a combination of X-Series be used to produce improved Internet and converters (Rosetta Series converters are computer audio content without increased file sizes or data rates. The DA-16X incorporates Apogee’s elec- tronically balanced line drivers, which were originally designed for the Mini-DAC. These

APPLICATIONS also supported) each Studio, broadcast, audio post equipped with X-Symphony Cards ($195); second, the Symphony PCI Express KEY FEATURES Apple Mac Pros (PCI-e) card ($795); and lastly, a compatible 32-channels of I/O per card; 1.6 and the state of the art 7.2 DAW Apple computer (such as the Mac Pro, price milliseconds of latency at 96 kHz (the lowest available in a native update. The Symphony System is a complete variant upon configuration) running Logic Pro audio system); amazing sound; DAW that offers the greatest number of I/O ($999), or any other CoreAudio-based applica- flexible configuration; reasonable channels per card of any CoreAudio compati- tion, and optional Maestro software (included price; built-in Big Ben-quality clock ble digital interface. It is actually the only solu- with the Symphony PCI card). A PCI-X version tion capable of 96 channels of I/O for Mac of the Symphony card is available for earlier PRICE Symphony PCI Series card: $795 without the need for an expansion chassis. The model Mac G5s not supporting PCI-e. AD-16X: $3,495 system maintains a low CPU load, thus con- The AD-16X and the DA-16X ($3,495 each) DA-16X: $3,495 serving the computer’s processing power for are Apogee’s latest and most advanced con- X-Symphony Card: $195 plug-ins. Connection between the computer version systems. They ramp up Apogee’s leg- Logic Pro: $999 and the audio hardware is completed via one endary build quality by incorporating a CONTACT high performance balanced cable that is capa- redesigned power supply, standard 192 kHz Apogee Electronics Corp. | ble of flawlessly transmitting digital audio sampling rates (the C777 clocking technology ☎ 310-584-9394 over long distances. And the Symphony found in the Big Ben) and several optional ➲ www.apogeedigital.com System is a competitively priced package, expansion cards.

Copyright 2007 JRS Publishing (USA), Inc. Reprinted with permission. line drivers simulate transformer behavior. ing “modifier” keys when setting the mixer, Stereo setting offers the convenience of routing The circuitry is an ultra low output and saving and recalling routing and mixer signals a pair at a time. I found that the Stereo impedance/high current driver, capable of configurations. generally worked best for all of my applica- running levels up to 26 dBu to the most com- The Settings windows allows the user to tions, but it was nice to have the option of con- plex or low impedance loads. This translates toggle between the Apogee interfaces that are figuring the paths as mono if required. The sig- into seamless integration with vintage equip- connected to the Symphony PCI card, set the nal paths can be labeled in the Input column. ment. clock source for the selected unit, configure The Output routing pane is almost the The Symphony PCI card was designed the VBus, and configure the Performance same functionally as the Input pane but it is specifically for the Apple Mac. It is a 24- Tuning. The V-Bus feature, used to make connections bit/192-kHz PCI-e card that provides 32 employing Apogee’s ultra- between signal paths from simultaneous channels of digital I/O. Up to fast Symphony driver, pro- software applications and three Symphony cards can be installed in one vides unlimited routing possi- hardware outputs. Hardware Mac, making it possible to have 96 simultane- bilities across multiple appli- outputs are represented by a ous inputs and outputs running natively with- cations in any Symphony row at the top of the grid, in a single computer. A 192-channel (96 in and System. This makes recording while the column to the left of 96 out) I/O setup requires six AD-16X boxes out of QuickTime or Final Cut the grid represents paths and six DA-16Xs. And configuring the AD- Pro directly into your DAW a from software. In the Matrix Apogee Symphony Card 16X and DA-16X to “Advanced” routing breeze. The Maestro Control column of drop down menus, allows additional hardware (converters, digi- Panel allows the virtual chan- signal paths from software tal effects, etc.) to be connected via the nels to be enabled. The V-Bus channel names may be configured as Mono or Stereo. The AD/DA’s digital I/O. are clearly labeled and the number of addi- Mono setting, like the Input pane, allows for The heart of the Symphony System is the tional V-Bus channels is selectable within the greatest routing flexibility, while the Stereo Maestro software. This software application, Apple’s Audio Midi Setup. Logic users will setting offers the convenience of routing sig- while not required, provides undeniably valu- love this feature because it makes it possible to nals a pair at a time. A path may be set to Off able control of Apogee interfaces by allowing bus outputs within Logic Pro. VBus in this menu as well. Signal paths may be the user to adjust hardware settings, configure offers zero latency performance with minimal labeled in the Output text box. If the AD16X is routing between hardware I/O and audio processing power on up to 32 buses per set to Standard routing, there will be no paths software I/O, and to perform low-latency Symphony card, ensuring maximum audio listed in the Output pane as there is only one mixes of hardware I/O paths and software performance. signal path (analog inputs to all digital out- outputs. Maestro consists of two main win- Maestro’s Performance Tuning feature pro- puts). When it is set to Advanced routing, the dows, the “Settings” window and the vides the ability to fine tune the performance Input pane is used to route the AD16X’s ana- “Routing/Mixer” window. Maestro also of the Symphony driver to allow super low log inputs to software inputs and the Output includes functionality for checking Ensemble latency for high performance platforms. This pane is used to route software app outputs to software and firmware versions, personaliz- gives the user the ability to maximize the per- the AD16X’s AES and ADAT/SMUX outputs. formance of the Symphony system on all sup- There will likewise be no paths listed in the | APPLE OF THE REVIEWER’S EYE ported hardware. Input pane if a connected DA16X is set to The Apple Mac Pro included with my The Routing/Mixer Window has three “Standard” routing. review setup was, by a large margin, the panes labeled “Input,” “Output” and “Mixer.” The “Maestro” mixer blends the hardware best computer that I’ve ever used. It worked Like the Setting window, each of the inputs with the software application playback perfectly, was lightning fast and, quite Routing/Mixer panes has a “Unit Select” tab and routes the mix directly to hardware out- frankly, made me drool. If I had the money that allows the user to toggle between the puts. The “Mixer Select” (A-B) drop down (or even enough room on my credit card) it Apogee interfaces that are connected to the menu selects between the two available mix- would have found a permanent home in my Symphony PCI card. ers per hardware interface. The “Input studio. The Symphony System, even con- The Input routing pane consists of a rout- Channels” provide the ability to control sidering the Mac Pro’s price tag, is about ing grid that plots the various connections inputs to the mixer. Hardware inputs of the half the price of a rig of similar between hardware inputs and signal paths to selected interface are the source for these specifications. software applications. These connections input channels. The mixer always displays 18 appear as inputs within the software applica- inputs; the unused mixer channels are grayed | HERE’S A CLOSER LOOK AT THE tions. It is also possible to send one hardware out if the selected device is equipped with less COMPUTER input simultaneously to several software sig- than 18 inputs. The mixer inputs each have ■ Mac Pro w/Dual-Core 3-GHz Intel nal paths. The hardware inputs are represent- “Pan,” “Level,” “Solo” and “Mute” controls. Xeon processors ed by a row at the top of the grid, while paths A bar graph style meter displays the pre-fader ■ L2 Cache (per processor): 4 MB to software are represented by the column to input level. ■ Memory: 4 GB the left of the grid. The “DAW Return” is a stereo input that ■ Bus Speed: 1.33 GHz Signal paths to software may be configured provides level control, metering and mute/solo ■ 465 GB internal drive as Mono or Stereo within the “Matrix” column functions for the DAW Return signal, e.g. the ■ 1.36 TB internal raid of drop down menus. The Mono setting allows mix of playback tracks from the software app. for the greatest routing flexibility, but the The “Main Output” is a stereo channel that pro-

Copyright 2007 JRS Publishing (USA), Inc. Reprinted with permission. Reprinted from Pro Audio Review vides a level fader, metering, and a routing input. gle problem. selection drop down menu for controlling the I used the same configuration in a full I don’t care how powerful or reasonably stereo output of the mixer. The Main output tracking situation (22 tracks) and had flaw- priced a recording system is, if it doesn’t drop down menu selects the hardware output less operation. Working on native systems in sound good, it’s just not worth attention. I’ve to which the Main Output is routed. the past has always reminded me of taking been using the AD-16X and the DA-16X in pictures with a cheap camera. It seems like various Nashville studios for years and I’ve | IN USE every time you try to take a picture there is a always been a fan of their sound. When The system that I reviewed consisted of a lag before anything happens. This is not the equipped with the X-HD Card instead of the dual 3-GHz Mac Pro with a beau- case with the Symphony System. It responds X-Symphony card they act as seamless tiful 23-inch Apple Cinema HD Display, a to any command instantly, making punching replacement for the Digidesign 192 within a Symphony PCI Express card, two Apogee in or out or any quick adjustments a breeze. Pro Tools rig (but they sound much better). If AD16X interfaces, two DA16X interfaces, the This is the first time ever I have found a studio has Apogee converters I’m confi- Maestro software package (included with myself working on a native-based system dent enough to leave my DAW at home. This the Symphony card) and Logic Pro 7.2. that provides the same quality of perfor- said, my assumption was that I would be On the rear of the X-Symphony card are two mance that I’ve only been able to attain with pleased with the sonic performance of the self-latching multi-pin connectors labeled Pro Tools. Symphony System and I was right. In every “Main” and “Through.” Communication I went on to route a single mic to all 32 instance the Symphony System sounded between the converter and the Symphony card inputs, just to see if I would have any prob- wonderful. The filters are focused, punchy is completed via Apogee’s proprietary PC32 lems recording long audio files: 32 tracks, 96 and transparent, and they have a wonderful digital cable. The AD-16Xs and DA-16Xs have kHz and 180 minutes and I didn’t have a sin- clarity. to be placed in the correct sequence for the rig I compared the clock in the AD-16X to my to operate properly: first an AD-16X then a DA- | SYMPHONY MOBILE: AN ON-THE- Lucid GENx96 Clock and I wasn’t able to 16X, then the second AD-16X, then the second GO OPTION hear any difference. Wow, an internal clock DA-16X, and so on. A PC32 cable runs from the Apogee Symphony Mobile, based on a that sounds as good as a stand-alone model. Symphony card to the AD-16X’s Main port and new PCI ExpressCard, is built for on-the-go There’s nothing wrong with that! I had great then from that unit’s Through port into the engineers using an Apple MacBookPro. The results using not only Logic Pro, but also Main port of the next unit, and so on. large number of MacBookPro laptops now Bias Peak, Nuendo, Garageband and I connected and configured the system used by professionals in the audio industry with the Symphony System. (which took one call to tech support due to make this product a serious contender. It’s operator error), then launched Apple’s 192 kHz capable and offers 32 channels of | SUMMARY Audio/MIDI Setup and set the default sys- simultaneous I/O with nearly non-existent I’m a long time Pro Tools user and, quite tem I/O to the Symphony card, so all appli- latencies at 96 kHz — a mobile symphony, frankly, I haven’t considered switching plat- cations that use audio (including QuickTime indeed. forms…until now. Logic Pro 7.2 coupled and iTunes) played through the Symphony "The challenge was to make it easier for with the Symphony System is reasonably engine. these professionals to get around and work priced for any audio professional and it has Now it was time to dig into Maestro. I at the same level that they could no major faults that I can find. knew the software was powerful, but if it in a traditional environment,” Apple’s Final Cut Pro has literally swiped weren’t intuitive and easy to use it wouldn’t said Apogee Director of Avid’s golden crown of film and video edit- translate well into the real world. I was Sales Max Gutnik. “We ing over the last few years, and now it impressed; the software was easy to navigate believe Symphony appears that Logic Pro teamed with the and manipulate. Mobile meets Apogee Symphony System could make it a I loaded in a multi-track work in progress this challenge double play. The Symphony System paired and was ready to record my first Symphony exceedingly with with Logic (or Cubase, or Digital System track. But first I went to the “Audio well, making it Performer, etc.) matches the performance Hardware and Drivers” page and unchecking the ultimate solution for the and surpasses the audio quality of Pro the “Software Monitoring,” configuring Logic professional on the go.” Tools|HD, while cutting the price virtually Pro so that my overdub track would mute If the desktop review is any indication, in half. Anyone in the market for a high-end when Record was engaged, yet would play engineers who can’t sit still may find some DAW should give the Symphony System top back when Record was disengaged (even extra grease for the wheels in the consideration. though the track was record-enabled). This Symphony Mobile system — stay tuned. would take full advantage of Symphony’s low — Strother Bullins Russ Long has done 5.1 DVD mixes for latency performance, and make the software Allison Moorer and Mercy Me and is an in- behave like an analog tape-machine in auto- demand engineer for live sound recordings.

Copyright 2007 JRS Publishing (USA), Inc. Reprinted with permission. Reprinted from Pro Audio Review