Apogee DA-16X Przegląd instrukcji - Strona 3

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