The following instructions describe the use of Symphony I/O with Pro Tools HD and HD Native PCI cards.
When working with Pro Tools software and Symphony I/O, it may be helpful to keep in mind the following principles of operation.
Each installed I/O Module is detected in Pro Tools' Hardware Setup as an Avid 192 I/O interface, and transmits and receives 16 channels of audio (12 channels @ 176.4-192kHz)) with the Pro Tools HD PCI card.
When 1 I/O Module is installed (or 1 I/O Module plus a Mic Pre Module), Symphony I/O is detected as 1 192 I/O, providing 16 bi-directional audio channels.
When 2 I/O Modules are installed, a single Symphony I/O is detected as 2 192 I/Os, providing 32 bi-directional audio channels (as shown below).
Symphony I/O's clock source is set from Pro Tools software, while Symphony I/O's sample rate is set by the Pro Tools session.
Any other Pro Tools hardware commands (mosty in the Hardware Setup Window) are ignored by Symphony I/O.
Other Symphony I/O settings, such as levels and formats, are made in Apogee Maestro software, which communicates with Symphony I/O via the USB connection. Symphony I/O is detected in Apogee Maestro as a USB device.
Once Symphony I/O has been connected to a Pro Tools HD PCI card (see Connecting to Pro Tools HD PCI Cards), open the Pro Tools application.
Pro Tools' Hardware Setup is normally used to set the format of the 192 I/O's hardware inputs and outputs and route 16 selected inputs and outputs to the Pro Tools PCI card. Since Symphony I/O has a different set of hardware inputs and outputs, it ignores most settings in the Hardware Setup Window. The steps below ensure that the greatest number of channels to the PCI card are available at all sample rates. This may result in a mismatch between the digital format shown in Hardware Setup and the format of the digital I/O actually installed in your Symphony I/O, but this mismatch has no consequence on the transmission of digital audio.
1. Choose Setup > Hardware.
2. In the Peripherals pane, select each 192 I/O interface detected and perform steps 3 and 4.
3. Click the Digital tab, then set Input Format to AES. Uncheck any Sample Rate Conversion boxes.
4. Click the Main tab, then click "Set To Default".
5. When configuring a 16 Analog In I/O Module, set Inputs 9-10 through 15-16 to Analog 9-10 through Analog 15-16.
6. When configuring a 16 Analog Out I/O Module, set Outputs 9-10 through 15-16 to Analog 9-10 through Analog 15-16.
7. Under Port Settings, ensure that the Expansion I/O radio button is clicked .
Once steps are complete, Symphony I/O's analog I/O is routed identically that of an Avid 192, ensuring complete compatibility with Pro Tools Delay Compensation.
Symphony I/O's digital inputs and outputs are also routed as those of a 192 I/O, with a few exceptions based on the I/O Module installed:
1. When using an 8 Analog + 8 Optical I/O Module, Symphony I/O's optical I/O is listed as AES I/O. This has no effect on the actual audio signal.
2. When using a 16 Analog In + 16 Optical Out Module, the first 8 optical outputs are listed as analog outputs in Pro Tools and the second 8 optical outputs are listed as AES outputs. This has no effect on the actual audio signal. Delay compensation values applied to the first 8 optical outputs are longer than required.
3. When using a 16 Analog Out + 16 Optical In Module, the first 8 optical inputs are listed as analog inputs in Pro Tools and the second 8 optical inputs are listed as AES inputs. This has no effect on the actual audio signal. Delay compensation values applied to the first 8 optical inputs are longer than required.
The Hardware Setup Clock Source drop down menu is used to select the clock source for the Loop Master Interface, as described in Setting the Clock Source.
Pro Tools' I/O Setup window is used to route 16 channels of hardware I/O per interface to Pro Tools software channel I/O.
Choose Setup > I/O and click the Input tab.
Delete all paths by Option-clicking the audio paths column on the left side of the window, then click Default.
Click the Output and Insert tabs and repeat step 2.
Once you've grasped audio routing between Symphony I/O and Pro Tools software using the I/O Setup default labels (as charted below for each I/O Module combination), it's suggested to modify the labels to more closely correspond with the actual inputs and outputs on connected Symphony I/Os. For example, if an 8 Analog + 8 Optical and an 8 Analog + 8 AES module were installed in a Symphony I/O, the labels in the I/O Setup window should be modified as shown below.
Routing between Symphony I/O and Pro Tools software is charted below for each I/O Module combination. Note that the Input, Output and Insert tabs in Pro Tools' I/O Setup window must be reset to default as described above.
8 AES + 16 AD
8 ADAT + 16 AD
8 AES + 16 DA
8 ADAT + 16 DA
16 AD + 16 DA
16 AD + 16 AD
16 DA + 16 DA
| 8 ADAT - Appears as 1 192 | |
Symphony I/O Inputs/Outputs |
Pro Tools I/O Setup Label |
Analog In 1-8 |
IN A 1-8 |
Optical In 1-8 |
IN A 9-16 |
Analog Out 1-8 |
OUT A 1-8 |
Optical Out 1-8 |
OUT A 9-16 |
|
|
| 8 AES - Appears as 1 192 | |
Symphony I/O Inputs/Outputs |
Pro Tools I/O Setup Label |
Analog In 1-8 |
IN A 1-8 |
AES In 1-8 |
IN A 9-16 |
Analog Out 1-8 |
OUT A 1-8 |
AES Out 1-8 |
OUT A 9-16 |
|
|
| 16 AD - Appears as 1 expanded AD 192 | |
Symphony I/O Inputs/Outputs |
Pro Tools I/O Setup Label |
Analog In 1-8 |
IN A 1-8 |
Analog In 9-16 |
IN A 9-16 |
ADAT Out 1-8 |
OUT A 1-8 |
ADAT Out 9-16 |
OUT A 9-16 |
|
|
| 16 DA - Appears as 1 expanded DA 192 | |
Symphony I/O Inputs/Outputs |
Pro Tools I/O Setup Label |
ADAT In 1-8 |
IN A 1-8 |
ADAT In 9-16 |
IN A 9-16 |
Analog Out 1-8 |
OUT A 1-8 |
Analog Out 9-16 |
OUT A 9-16 |
|
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