Symptom: Symphony I/O does not show up in Maestro or properly function when connected to Symphony 64 | ThunderBridge
Solution: There are a number of logical and easily correctable causes for this. Please examine the following steps:
Confirm that you have both the latest firmware and software installed.
Verify that the PC-32 cable is properly connected from the main port on the back of Symphony I/O to the first port on Symphony 64 | ThunderBridge.
Confirm that the Symphony I/O is set to "Symphony" AIM mode. To verify, push in and hold on the right-side front-panel encoder. This will bring you to the AIM selection menu. If its not already selected, scroll to Symphony and then push in on the right-side encoder to select and the unit will restart.
Make sure you have selected the correct “Source” setting in Audio MIDI Setup.
Open “Audio MIDI Setup” (Applications > Utilities > Audio MIDI Setup) and select Symphony64 on the left-side device column.
Go to the “Source” drop-down menu in the main part of the Audio MIDI Setup window and set it for the appropriate port selection. If you’re using only 1 Symphony I/O, set it for “PCI Card 1, Port 1 (Chs 1-32)”. If you’re using 2 SymI/O’s, set it for “PCI Card 1, Port 1-2 (Chs 1-64)”. After changing Source selection, quit Audio MIDI Setup and restart the computer.
It’s an accepted “best pactice” of most audio software providers that audio files should be recorded on a hard drive other than the Mac’s Startup drive (i.e. the drive on which the operating system is installed). You can probably get away with recording a few tracks to your computer’s Startup disk, but for the best performance of your Apogee recording system, record onto a separate ATA/IDE, SATA, or FireWire drive whose spindle speed is at least 7200 RPM.
- make sure the SymI/O is plugged in directly to one of your Mac's USB ports… don't use a hub. Make sure you're using the Apogee USB cable that came with the SymI/O.
- make sure that any other previous SymI/O firmware updaters on your computer have been trashed and that you empty the trash.
- power on the SymI/O and launch the current updater.
- make sure all the firmware versions are showing up and displaying as expected.
- run the firmware updater. If the firmware updater fails, quit the updater and power down the SymI/O… you may need to push in and hold on the SymI/O's power button if the unit is in "firmware updater mode"… Once the SymI/O is powered down, push in and hold on the left-side front-panel encoder and power the unit up… This will bring you to the "Reset All" screen. Let off the left-side encoder and use the right-side encoder to scroll to the word "Yes" and then push in on the right-side encoder. This will reset the unit. Run the updater again.
- after the firmware has updated, you will need to install the current software as well. You may get a "firmware mismatch" dialog until you install the new software… ignore this dialog until you have installed the current software and restarted the computer. The only reason the mismatch dialog appears is because the older software is expecting to see the older firmware and after you update the firmware, it's mismatched from the older software. Updating the software to current versions will fix this.
Maestro includes an update notification feature that is enabled simply by connecting your Mac to the Internet. Maestro will ping Apogee servers to determine the latest versions of Symphony I/O firmware and software, and notify you if updates are available. If updates are available, the dialog shown below appears.
Click on the link provided in the dialog and download the Symphony I/O firmware and/or software updates.
Before updating:
It's recommended to note critical Maestro settings such as Trim levels before performing an update.
Unplug headphones and power off speakers connected to Symphony I/O.
Unplug all other USB devices and connect Symphony I/O directly to a Mac USB port.
To update firmware:
Connect the Symphony I/O USB port to your Mac using the USB 2.0 cable included with Symphony I/O.
Launch the Firmware Updater application by double-clicking on the Firmware Updater icon.
The Firmware Updater application will determine if a firmware update is required.
If "Press Update to Proceed" is displayed, click Update to install new firmware
To update software:
Unzip the Software Installer
Launch the Software Installer by double-clicking on the icon
In most cases, Symphony I/O ships with the first I/O Module installed. For the infrequent case where no I/O Modules are installed, this section describes both how to install the first I/O Module as well as a second I/O Module.
Symphony I/O Module Installation Video
Symphony I/O Screws
Be careful to keep track of these screws and use them only for their intended purposes
Stand off - This secures the Modules to the chassis when using 2 Modules
Module/Rear Screw - Use these round head screws to secure Modules to the chassis and to secure the rear of the cover to the chassis
Rack Ear Screw - Use these undercut screws to attach the Rack Ears
Case Bottom Screw - Use these undercut screws to attach case on bottom of unit and to secure the center support
Directions
When installing a Mic Pre I/O module, first install an 8x8 or 16 Input I/O Module in the lower slot, then install the Mic Pre I/O Module as described starting with Step 12.
1. Discharge Residual Electricity- IMPORTANT! Even when Symphony I/O is powered off but connected to the AC wall socket, voltages remain active throughout the system. Manipulating circuit boards under these conditions may result in permanent damage.
a. Turn Symphony I/O off, but leave the AC cable connected
b. Ground yourself by touching the front panel of Symphony I/O to discharge static electricity
c. Unplug the AC cable from Symphony I/O
d. Wait for at least 2 minutes to let the power discharge from the circuitry
2. Use a Phillips screwdriver to remove the 11 screws holding the cover on.
3. To remove the cover, slide it straight back until the underside clips prevent further movement. Then grasp the cover's side panels and gently bow the cover until the bottom lip is free.
4. Remove the 2 screws holding the center support in place, and lift out the support.
5. Remove both I/O Module blanking panels and set the screws aside for later use.
6. Remove the 9 screws indicated below, and set them aside for later use.
7. Place the first I/O Module into the chassis by inserting the I/O Module rear panel into the Symphony I/O Card 1 opening, then gently dropping the front of the I/O Module into place. Line up the I/O Module's mounting holes with the 9 nuts on the bottom of the chassis.
8. Secure the I/O Module by installing the 9 screws removed in Step 6. If you're installing a second I/O Module, install 9 stand-offs in the place of the 9 screws.
9. Secure the I/O Module rear panel to the chassis rear panel using the two screws from Step 4.
10. If you are only installing a single Module, replace the second slot's blanking panel.
11. Connect the provided ribbon cable between J1 on the Main board and J1 on the I/O Module. Be sure to align the key on each ribbon cable connector to the key slot on each receptacle.
12. When installing a Mic Pre I/O Module, first remove the Input Bridging Jumper from the lower I/O Module, and connect the Mic Pre IO Module's 50-pin ribbon cable to the now-empty socket.
13. To install a second Module, insert the I/O Module rear panel into the Symphony I/O Card 2 opening, then gently dropping the front of the I/O Module into place. Line up the second I/O Module's mounting holes with the tops of the 9 stand-offs, and install 9 module screws.
14. If you are installing a Mic Pre I/O Module, connect the Mic Pre IO Module's 50-pin ribbon cable to the Mic Pre IO Module
15. Connect the provided ribbon cable between J2 on the Main board and J1 on the second I/O Module. Make sure that the lower Module ribbon cable is nested into the upper Module ribbon cable as shown below.
Do not tuck the Primary I/O ribbon cable underneath the second Module or it could become frayed.
16. Reconnect the center support bar.
17. Reversing the steps to remove the cover, slide it back into place and secure with the 11 screws removed in Step 2. Use 6 undercut screws to secure the cover bottom and 5 round head screws to secure the cover's rear tab.
Rack ears are included in the Accessories box for mounting Symphony I/O in a standard 19” equipment rack.
1. Orient one rack ear to line up the ear's three holes with three holes found on the side of the chassis immediately behind the front panel extrusion.
2. Insert 3 screws (included) and finger tighten.
3. Connect the second rack ear to the other side of the chassis.
4. On each side, line up the top and bottom of the rack ear with the top and bottom of the front panel extrusion and tighten the screws with a Phillips screwdriver. Don't overtighten the screws.
5. Remove the screw-on feet by turning them counter-clockwise by hand or with a Philips screwdriver.
What is latency?
When recording with most computer-based digital audio applications, a delay between the input and output of the recording system often disturbs the timing of the musicians who are performing. This delay, known at latency, means that the musician hears the notes he produces a few milliseconds after having produced them. As anyone who has spoken on a phone call with echo knows, relatively short delays can confuse the timing of any conversation, spoken or musical.
To illustrate the effect of latency, Figure A depicts the typical signal path of a vocal overdub session. A vocalist sings into a microphone, which is routed through a hardware interface to the audio software application for recording. In the software application, the vocalist’s live signal is mixed with the playback of previously recorded tracks, and routed back through the hardware interface to the vocalist’s headphones. Because of the audio application’s latency, the vocalist hears his performance delayed by several milliseconds in his headphones.
How does Maestro resolve latency?
By routing the hardware input directly to the hardware output and mixing in playback as shown in Figure B, it’s possible to create a headphone listening signal with a much shorter delay.
First, the signal being recorded (in this case, a vocal mic) is split in the hardware interface and routed to both the software applicaton for recording and directly back to the hardware outputs without going through the latency-inducing software; this creates a low latency path from mic to headphones. Next, a stereo mix of playback tracks is routed to the low latency mixer and combined with the hardware input(s). This allows the performer to hear both himself without a confusing delay plus the playback needed for overdubbing.
Note that the software application’s mixer is used to set a stereo mix of playback tracks while the low latency mixer is used to set the balance between the stereo playback mix and the hardware inputs.
Do I need the Maestro Mixer?
The Maestro mixer serves to provide a low latency listening mix while recording. Therefore if you’re using Symphony I/O to listen to iTunes or audio from another program, there’s no need to use the mixer.
It’s also possible that the latency of your particular recording system is low enough to be unnoticeable by you or other performers, especially when connecting Symphony I/O via the Symphony 64 PCI card. If you’ve set your audio software’s input/output buffers according to the guidelines below and latency doesn’t bother you or other performers, there’s no need to use the Maestro mixer.
How do I set my software’s I/O Buffer?
The I/O Buffer setting found in most audio software is one of the most crucial, but often ignored, settings in a Mac-based recording system.
When choosing a buffer setting, a compromise between the latency through the application and the amount of computer processor power accessible to the application must be made.
A lower Buffer setting results in lower latency but less available processing power. If the application can’t access enough processor power, processor overruns may occur, resulting in audible clicks and pops or error messages that interrupt playback and recording.
A higher Buffer setting, on the other hand, results in greater amount of accessible processor power (i.e. less chance of overruns) but increases the latency. Determining the best setting requires some trial-and-error in order to find the best compromise.
Keep in mind that as tracks and plug-ins are added to a software session, processor requirements increase. Thus, the buffer setting that works during the early stages of a session might result in processor overruns during later stages.
The best strategy is to set the buffer to a lower setting during recording and accept certain limitations on plug-in usage, and then raise the buffer during mixing to utilize the computer’s full processor power when latency isn’t an issue.
With the processing power of today’s Macs, you may find that adjustment of the Buffer isn’t necessary, and you can leave it at a setting for low latency and still access a sufficient amount of processing power when adding tracks and plug-ins. If you do encounter clicks, pops or software errors, don’t hesitate to experiment with the Buffer setting.
Step by Step instructions to record with the low latency mixer1. Configure your software application for use with an external low latency mixer. For example , in Logic Pro uncheck the Software Monitoring box (Logic Pro > Preferences > Audio) so that when a track is in record, audio output is muted from Logic. Thus, only audio through the low latency mixer is heard.
1. Set the software application's mixer output to Out 1-2.
2. In the Maestro Output Routing tab window, assign Mixer 1 to hardware output Line 1/2, Mixer 2 to hardware output Line 3/4.
3. In the Output tab window, assign Headphone 1 to Line 1-2, Headphone 2 to Line 3-4
4. In the Mixer tab window, set the Software Return drop down menu to 1-2 and set both the Software Return and Mixer Master faders to 0.
5. In your software application, play back the session. You should hear playback in headphones connected to Symphony I/O's HP 1 and HP 2 outputs. Next, create a suitable mix of playback tracks. In this example, both Mixer 1 and 2 are in use, but under many circumstances only one mixer is necessary.
6. Connect the signal to be recorded to Symphony I/O's Line In 1 - the signal level will appear in the Mixers' Line 1 meter.
7. Raise the Line 1 fader to create a monitor mix of the input and playback signals.
8. Record!
Once your microphone or instrument is connected, your audio software is configured and youʼve created a new recording track, just how do you set the input gain for a proper recording level in your audio software? Thereʼs no simple answer, but with a few guidelines and a bit of experience, you can master setting a proper level.
Ideally, the input gain should be set so that when the input signal is at its loudest, the level in audio software (or in Maestro) is just below maximum without lighting the Over indicator. In reality, itʼs unlikely that youʼll be able to guess just the right gain setting to accomplish this - when your gain is too low, the signal never gets close to maximum and when your gain is too high, a digital Over may occur.
Now, with a 24-bit system (such as Symphony I/O), the noise floor is so low that thereʼs no real penalty for undershooting the gain setting and recording at a lower level. There IS a penalty for overshooting the gain setting - a digital Over that results in significantly increased distortion. Thus, itʼs better to work with a recording level thatʼs a bit too low than a level thatʼs a bit too high.
Just how much to undershoot the gain setting is determined by the nature of the sound being recorded. As a general rule, instruments such as bass and organ have a more consistent level than percussive instruments, such as a tambourine, and may be recorded at a higher level. Also, the performerʼs skill and playing style can dictate more or less caution when setting levels. As you gain experience, youʼll be able to more accurately set a good recording level while avoiding digital overs.
How do I set the input level of my powered speakers?
Most powered speakers offer an input volume control, often labelled as input sensitivity. Rather than describe an overly complicated method for setting this control, the easiest way to determine the right setting is to note where you generally set Symphony I/Oʼs output level. If you find yourself rarely turning the output past a very low output level (say, -35 dB), decrease the input sensitivity on the speaker. If, on the other hand, you find yourself setting Symphony I/Oʼs level for full output and the speakers arenʼt loud enough, increase the input sensitivity. Ideally, Symphony I/O’s Speaker output should be at 0 dB (i.e no attenuation) when you’re listening at your absolute maximum desired volume.
Click on the link provided in the dialog and download the Symphony I/O firmware and/or software updates.
Before updating:
3. To remove the cover, slide it straight back until the underside clips prevent further movement. Then grasp the cover's side panels and gently bow the cover until the bottom lip is free.
4. Remove the 2 screws holding the center support in place, and lift out the support.
5. Remove both I/O Module blanking panels and set the screws aside for later use.
6. Remove the 9 screws indicated below, and set them aside for later use.
7. Place the first I/O Module into the chassis by inserting the I/O Module rear panel into the Symphony I/O Card 1 opening, then gently dropping the front of the I/O Module into place. Line up the I/O Module's mounting holes with the 9 nuts on the bottom of the chassis.
8. Secure the I/O Module by installing the 9 screws removed in Step 6. If you're installing a second I/O Module, install 9 stand-offs in the place of the 9 screws.
9. Secure the I/O Module rear panel to the chassis rear panel using the two screws from Step 4.
10. If you are only installing a single Module, replace the second slot's blanking panel.
11. Connect the provided ribbon cable between J1 on the Main board and J1 on the I/O Module. Be sure to align the key on each ribbon cable connector to the key slot on each receptacle.
12. When installing a Mic Pre I/O Module, first remove the Input Bridging Jumper from the lower I/O Module, and connect the Mic Pre IO Module's 50-pin ribbon cable to the now-empty socket.
13. To install a second Module, insert the I/O Module rear panel into the Symphony I/O Card 2 opening, then gently dropping the front of the I/O Module into place. Line up the second I/O Module's mounting holes with the tops of the 9 stand-offs, and install 9 module screws.
14. If you are installing a Mic Pre I/O Module, connect the Mic Pre IO Module's 50-pin ribbon cable to the Mic Pre IO Module
15. Connect the provided ribbon cable between J2 on the Main board and J1 on the second I/O Module. Make sure that the lower Module ribbon cable is nested into the upper Module ribbon cable as shown below.
Do not tuck the Primary I/O ribbon cable underneath the second Module or it could become frayed.
1. Set the software application's mixer output to Out 1-2.
2. In the Maestro Output Routing tab window, assign Mixer 1 to hardware output Line 1/2, Mixer 2 to hardware output Line 3/4.
3. In the Output tab window, assign Headphone 1 to Line 1-2, Headphone 2 to Line 3-4
4. In the Mixer tab window, set the Software Return drop down menu to 1-2 and set both the Software Return and Mixer Master faders to 0.
5. In your software application, play back the session. You should hear playback in headphones connected to Symphony I/O's HP 1 and HP 2 outputs. Next, create a suitable mix of playback tracks. In this example, both Mixer 1 and 2 are in use, but under many circumstances only one mixer is necessary.
6. Connect the signal to be recorded to Symphony I/O's Line In 1 - the signal level will appear in the Mixers' Line 1 meter.
7. Raise the Line 1 fader to create a monitor mix of the input and playback signals.
8. Record!