Apogee Ad-16x User manual

Apogee’s Symphony

system aims to bring

professional hardware to

users who want to work

with native digital audio

workstations on a Mac,

whether they’re in the

studio with a Mac Pro or

on the road with

a Macbook Pro.

www.soundonsound.com • september 2007

134

on test

computer

recording system

Mark Wherry

As computers have become more

powerful over the last few years,

especially with the introduction of

multi-core processors, it really has become

possible to do all of your audio processing,

recording, mixing, and playing virtual

instruments on one system, without the aid

of external processing power. Accordingly,

the market for higher-quality audio

hardware to be used with computer-based

workstations has grown tremendously,

although many of the products available are

targeted at home or project-level situations

rather than the demanding professional.

And by using the word ‘professional I m

talking about those who require a large

number of inputs and outputs (32 or more)

with high-quality analogue converters at

very low latency — and are willing to pay

for such a system.

It used to be that higher-end users

would buy Digidesign s Pro Tools system,

although often not necessarily for the Pro

Tools software itself. While many popular

products from developers such as MOTU,

Opcode and Steinberg supported Digidesign

hardware directly at one time or another,

perhaps the most popular example is the

way in which pro Logic users would run

Logic as front-end software for the Pro

Tools hardware. And although it s still

possible to use Pro Tools hardware in

conjunction with Logic, from my own

experience this seems to be a far less

desirable workflow than it was several

years ago.

Other than Pro Tools, if you need a large

number of inputs and outputs (Pro Tools

currently supports up to 160 inputs and

outputs) for a Mac-based audio workstation,

with low latency and quality converters, but

want to stay within the world of your

workstation s native abilities, there haven t

Apogee Symphony

pros

• Achieves very low latency while maintaining

native compatibility with Core Audio.

• Apogee’s converters are among the best

available.

• The VBus channel routing adds a feature that’s

sorely missing in many native audio

workstations.

• Symphony Mobile provides all the functionality

of a single Symphony PCI card.

cons

• If you want to take advantage of the Symphony

system’s feature set, but require more digital I/O

instead of high-quality analogue converters,

having to buy Apogee’s converters can work out

expensive.

• Fully understanding how all the parts of the

Symphony system work together can take a bit

of time.

summary

Apogee’s Symphony is an impressive system that

truly brings professional-quality audio converters,

combined with good performance and low

latency, to Core Audio-based applications on both

desktop and mobile platforms.

Apogee Symphony

Audio Interface System

been too many options. Planning to address

this need, Apogee, a respected

manufacturer of high-end audio converters,

realised that they already had half of the

solution: the converters. Since the

company s latest converters already had the

option of accommodating an expansion

card that would allow them to connect

directly to a Pro Tools system, it seemed

logical to create a system that would make

it possible to integrate Apogee converters

with native audio software instead. And

that s exactly what Apogee have done.

First Movement

Symphony is the name given to a number of

Apogee products used together to create

one system for high-quality, low-latency

audio input and output, designed

exclusively for Mac users — there s no

Windows version, and Apogee apparently

have no plans to release one either. The

heart of the Symphony system is the

Symphony PCI card, which has been

available in PCI Express (PCIe) and PCI

Extended (PCI-X) formats since last year.

Apogee also recently introduced a mobile

version (dubbed Symphony Mobile) that

plugs into the Express Card slot on

a Macbook Pro.

Each Symphony card

supports up to 32 channels

of input and 32 channels

of output

simultaneously,

and it s possible

to install up

to three

september 2007 • www.soundonsound.com 135

When the Symphony Mobile card is inserted in the

Macbook Pro, you’ll see this icon appear in the menu

bar. The pop-up menu provides a power-off option

that should be used before e ecting the card from the

system.

Symphony cards in your Mac, for a

maximum of 96 inputs and 96

outputs. Since a Macbook Pro only has

one Express Card slot, you can only

use one Symphony Mobile card in it,

for a maximum of 32 inputs and 32

outputs.

Installing the PCIe or PCI-X cards

inside a Mac Pro or older Power Mac

(you ll need at least a G5 to handle

Symphony) is fairly easy. As is usually

the case with PCI cards, Apogee

recommend that the first Symphony

card be installed in the

lowest-numbered slot available

(usually this will be as close to the

graphics card as possible), and if

you re installing additional cards,

these should be placed in adjacent

slots. The only thing to be aware of is

that each Symphony card has a set of

onboard jumpers that need to be

configured according to how many

cards you re going to use.

The first card doesn t require any

jumpers and Apogee supply each

Symphony card with the jumper

attached to only the first pin, for

safekeeping — so if you re only using

one Symphony card there s nothing to

worry about. However, if you re

installing a second or third card you ll

need to make sure the jumper is

configured uniquely for each card, as

described in the manual. While the

jumper configuration isn t a big deal,

it does seem a shame that a more

automatic method of configuration

couldn t be found, although

you ll probably only

have to worry

about

it once.

Finally, as

with other

multi-card PCI

audio systems,

there s a ribbon

cable that tethers

together all the

Symphony cards in the

system.

Symphony Mobile is, of

course, slightly easier to install:

simply insert the card into the

Express Card slot on your MacBook

Pro. An Express Card icon will appear

in the menu bar, and if you want to

▲

eject the card you need to choose the

‘Power off Card option first, from the

Express Card icon s pop-up menu, before

removing the card from the slot.

This was the first time I d used an

Express Card with my Macbook Pro, and

I was surprised at just how ineffective

Apple s spring-latch was for keeping the

Express Card in the slot. As you insert the

card you feel the spring-latch engage, but it

requires very little effort for the card to be

pulled from the slot without disengaging

the latch. To remove the card, you re

supposed to push it in again, to unlatch the

spring that releases the card, but again

I found it too easy to pull the card from the

slot without having to unlatch the spring.

You have to be careful when plugging in the

PC32 cable that connects the Symphony

Mobile card to your converters, since the

pressure of plugging in the cable will easily

unlatch the card. For this reason, you might

want to connect the lead to the card before

inserting it into your Macbook Pro.

This small criticism isn t Apogee s fault,

of course, but it is something to be aware

of when using Express Cards with

a Macbook Pro. Apogee do supply a little

rubber foot that can be attached to the

bottom of the card, to hold it in place and

prevent the weight of the cable pulling

down on the card in the slot.

‘X’ Marks The Converter

The Symphony PCI card can be used with

any of Apogee s converters that support

X-Series expansion cards, including the

AD16X and DA16X converters (which, as

their names suggest, offer 16 channels of

analogue-to-digital and digital-to-analogue

conversion respectively) and the Rosetta

800 and 200 (which give you either eight

channels of A-D and D-A conversion or

two). The really nice aspect of having

a choice of converters

available is that you

can also mix and

match them in a single

system, meaning that

you can start off with

a Rosetta 800 and one

Symphony card (giving you

eight ins and eight outs), and

later add either additional Rosetta

800s or AD16s or DA16s, as your

budget allows. For the review,

Apogee provided me with two AD16Xs

and two DA16Xs, details of which are

given in the box above. (Hugh Robjohns

has previously reviewed the Rosetta

converters; see the ‘Apogee Reviews in SOS

box for more information.)

The only down side to the X-Series

expansion cards is that you do have to buy

them separately and install them yourself,

although this is really simple and Apogee

provide clear and nicely illustrated

instructions. While on the subject of

instructions, all of Apogee s products are

supplied with good printed documentation

that s well written and provides plenty of

illustrations (PDF versions can be

downloaded from Apogee s web site), which

is always a pleasant surprise.

Once you ve installed the Symphony PCI

card (or cards) in your computer, the

X-Symphony cards in your converters, and

Apogee s supplied driver software on your

computer, it s time to wire everything up. If

you ve ever worked with a Pro Tools

system, wiring up a Symphony system is

pretty much the same, and very easy

to do. Each Symphony card has a

PC32 connector, and each X-

Symphony card has two PC32

connectors, marked Main and

Thru; so to connect your

first converter to the

Symphony system,

connect a PC32 cable

from the first

Symphony PCI card

to the Main PC32 connector on the

X-Symphony card of the converter.

Additional converters can be

daisy-chained from the first, via the Thru

PC32 connector, and you can keep on

daisy-chaining converters in this way until

you reach the maximum of 32 input and 32

output channels supported by the Symphony

PCI card to which all of the converters are

attached. To connect additional converters,

you would move onto the second or third

Symphony PCI cards in your system and

repeat the process until you d connected

on test

computer

recording system

APOGEE SYMPHONY

Maestro (see overleaf for details) provides access to the two hardware mixers on each Symphony PCI card that allow you to create low-latency monitor mixes when recording.

www.soundonsound.com • september 2007

136

▲

enough I/O channels to cover the supported

96 inputs and 96 outputs.

If you have a master clock in your

system (such as Apogee s own Big Ben), you

can obviously slave all of the converters to

that clock. However, if you don t have

a master clock you can use the first

converter as your master, and slave the

other converters by connecting the

word-clock output from the first converter

to the word-clock input of the additional

converters, using T-connectors and

terminating after the last one. As a rule of

thumb, if the converters in use in the

Symphony system are the only digital

devices in your studio requiring a clock

input, using the first converter as the

master will be absolutely fine; but if you re

going to be connecting other devices, via

a digital interface, to your converters, such

as an effects unit or the output from

another computer s soundcard, it would

definitely be worth investing in a master

clock to avoid potential problems.

If You Please, Maestro

Apogee supply both a Core Audio driver

and a software application called Maestro

that allows you to configure the Symphony

system and make use of the onboard

routing and mixing features on the

Symphony PCI card itself. The Maestro

software consists of two windows:

a Settings window that allows you to

configure the Symphony PCI card and

attached converters, and a Routing/Mixer

window that lets you assign which

hardware inputs and outputs are routed to

the Core Audio inputs and outputs.

The routing part of the Routing/Mixer

window is laid out in a familiar-looking grid,

and by default hardware channel one is

routed to software channel one, hardware

channel two is routed to software channel

two, and so on. There are separate pages

for Input and Output, and if you re used to

the I/O Setup window in Pro Tools the

Maestro Input and Output pages feel a little

bit quirky initially, but provide mostly the

same functionality. Channels have a stereo

mode where pairs of outputs are moved

together, although you can also ungroup

these pairs to assign mono channels

individually. However, instead of dragging

the channel routing elements around, you

click where you want them to go. One thing

that would be nice in the Outputs page of

Maestro would be the ability to route

a software output to more than one

hardware output, as you can with RME s

Total Mix system.

The Mixer page provides access to the

two hardware monitor mixers available on

each Symphony PCI card, which allow you

to create latency-free monitor mixes when

recording. Each mixer allows you to set

how much of the input signals are sent to

a mix output of your choosing, and you

also have the option to blend in a stereo

output from your audio workstation

software as well. Because these mixers are

provided on the Symphony PCI card, you

can route inputs from one converter to

outputs on another, so long as both

converters are attached to the same card. If

you re using multiple Symphony cards, you

can t route inputs from a converter attached

to one card to the outputs of a converter

attached to a different card. This is perhaps

a shame, but one of the goals of Symphony

is, of course, to allow you to work with

your audio workstation at low latencies,

which means you might be able to create

your monitor mixes from within software

like Logic Pro, enabling you to route

anything anywhere.

One of the neatest parts of the whole

Symphony system is the VBus channels that

allow you to route audio channels within

the Symphony card itself. This can be pretty

▲

www.soundonsound.com • september 2007

138

on test

computer

recording system

APOGEE SYMPHONY

Released in 2004, the AD16X and DA16X were the successors to Apogee’s

previously popular 24-bit AD16 and DA16 converters, with the ‘X’ in the

names denoting support for the X-Series cards that were originally introduced

for the Rosetta 800. Other significant improvements included support for

192kHz sampling and the inclusion of the same C777 clock technology used

in Apogee’s Big Ben digital master clock, famous for its low jitter.

The AD16X and DA16X each support either 16 channels of A-D or D-A

conversion, respectively, and, accordingly, each unit has 16 analogue

connections (from two 25-pin D-connectors that require breakout cables),

along with both ADAT and AES connections (the latter via a 25-pin

D-connector). Each converter has four ADAT ports (only two are used at

44.1/48kHz rates) to support S/MUX (sample multiplex) modes that allow

either 16 channels at 88.2/96kHz or eight channels at 192kHz. To allow all

16-channels of A-D or D-A conversion to operate at 192kHz you either need to

use the AES ports in stand-alone mode, or an X-Series card, such as an

X-Symphony, as described in the main text.

Once you use an AD16X or DA16X with an X-Series card, the

digital ports effectively become redundant, because either the

digital input to or output from the converter will being handled by

the X-series card instead of the converter’s own digital interface. To

take advantage of this redundancy, Apogee added an extra mode of

operation to the converters, called Advanced mode — the regular,

default mode is referred to as Standard mode — that allows you to

make use of both the digital and analogue connections simultaneously when

the converter is using an X-Series card. With the AD16X, for example, you can

get 16 channels of A-D (input) conversion, and 16 channels of digital output

via the onboard digital connections. With the DA16X you get 16 channels of

D-A (output) conversion with 16 channels of digital input.

As you can imagine, Advanced mode is pretty useful when these converters

form part of a Symphony system; if you don’t require analogue input and

output for every channel in the system, using the AD16X and DA16X

converters in Advanced mode provides a number of digital inputs or outputs

for connecting to other digital devices in your studio. It also means you need

fewer converters. In Standard mode each converter provides either

16 channels of input or 16 channels of output, so four converters (two

AD16Xs and two DA16Xs) are required to handle the 32 channels of input and

output supported by a single Symphony PCI card. In Advanced mode, however,

because each converter now offers both 16 channels of input and 16 channels

of output, only two converters are required to provide 32 channels of input

and output.

Sonically, the AD16 and DA16 converters are, as you would imagine and

hope given Apogee’s pedigree, pretty good. Judging A-D and D-A converters is

always highly subjective, especially at the higher end of the market, and

having listened to many converter shoot-outs over the years, one thing you

notice about high-end converters is that, quite honestly, the differences

between competing units can be very small indeed. Personally, I’ve found the

AD16 gives a certain clarity to the sound that I like, especially at higher

sampling rates, maintaining the detail of what’s being recorded in a very

flattering way.

Talking about the high end of the market, it’s worth noting that the AD16

and DA16 converters are priced quite affordably compared to far more

expensive models from companies like Prism and Genex, and many engineers

I know prefer the AD16s to more expensive offerings from other companies.

A friend of mine recently did a blind test on a scoring stage with the AD16s

competing against more expensive converters from another reputable

company, and everyone on the stage apparently preferred the Apogees. While

the quality of converters can be highly subjective, and other engineers may

disagree with my assessment and anecdotes, that the AD16 and DA16s fall

into the category where we can discuss them subjectively rather than

technically is perhaps the highest compliment.

The AD16X & DA16X Converters

▲

useful, since one of the big limitations of

the mixer found in many native

workstations, such as Logic Pro and Cubase

or Nuendo, is that it s impossible to route

the output of a bus or group to the input of

an audio track. There are many situations

where you would want to do this; for

example, in the media world it s quite

common to submit your final mix as

a series of so-called ‘stems , where, instead

of supplying the whole mix as one stereo

file, you provide a number of stereo mixes

for the different groups that make up the

track. While it s possible to do this in any

program, by using the bounce or export

feature to record each stem one pass at

a time, with a more flexible bussing system

you can create all of your stems in a single

pass. Apogee s VBus channels give you

exactly this feature.

Each Symphony card provides up to 32

VBus channels that show up as additional

physical audio inputs and outputs in your

audio workstation. And because the VBus

channels are part of the Core Audio driver,

you can easily use them to route audio

between different applications as well,

which could be useful. Logic users might

want to switch to the driver s own I/O label

via the Audio Configuration window, so the

VBus channels can easily be differentiated

from the actual hardware inputs and

outputs on the converters.

Perhaps the best thing about the VBus

channels is that it s possible to make

a sample-accurate recording from the ouput

of one track to the input of another. I tested

this in Logic Pro, recording the output of

a mono track via a VBus to the input of

another mono track; and when I looked at

both recordings in Logic s Sample Editor

window (see the diagram above) both audio

files started at exactly the same sample.

How Low Can You Go

One of Apogee s big claims for the

Symphony system is its performance,

especially with regard to latency. To test

this, I used Logic Pro 7.2.3 with

a Symphony system installed in a Mac Pro

(featuring two dual-core 3GHz processors,

3GB memory, and a 500GB SATA-II drive)

and also with a Symphony Mobile system

on a first-generation Macbook Pro (with

a 2.16GHz Core Duo processor, 2GB

memory and a 100GB, 7200rpm drive). The

test was kept fairly simple: I created 32

mono audio tracks and used Activity

Monitor to measure Logic s CPU usage when

all 32 tracks were enabled, and then when

all 32 tracks were in record. It should be

noted that the Mac Pro percentages should

be read on the assumption that 400 percent

is the theoretical maximum performance

achievable, while 200 percent is the

maximum for the Macbook Pro (100 percent

represents the theoretical maximum of one

processing core).

With the Mac Pro, Logic usage was 13

percent when the tracks were record

enabled and 20 percent during recording.

On the Macbook Pro, Logic usage was 26

percent when the tracks were enabled and

29 percent when recording. I repeated the

same test with larger buffer sizes (and thus

greater latencies), but I ve put these figures

in a separate chart, so as not to fill up

a paragraph with tedious numbers.

By way of a comparison, I tried the same

test with a Fireface 800, to see how Logic s

CPU load compared. Admittedly, this isn t

a technically fair comparison on the Mac

Pro, since one system is PCI-based and the

other Firewire, but at the time of writing

I didn t have access to any other PCIe audio

cards (except for Pro Tools) to make the

test more fair. The other caveat in the

comparison is that the Fireface has

a maximum of 28 inputs at 44.1kHz, so the

four-channel difference should also be

considered.

Using the Fireface

800 with a 32-sample

buffer on the Mac Pro,

Logic reported a 15

percent usage when idle

and a 22 percent usage

when recording 28

mono tracks. It s

a subtle difference, of

course, but shows that

the Symphony card

(perhaps aided by the

fact that it s PCI-based)

is working slightly more

efficiently. I expected

a more dramatic

difference on the

Macbook Pro, but Logic s

usage was almost

identical.

▲

www.soundonsound.com • september 2007

140

on test

computer

recording system

APOGEE SYMPHONY

Here you can see the output of an

Audio Instrument track being

recorded by an Audio Track using

Symphony’s VBus channels. The

window in the background shows

that a recording made via a VBus

is sample accurate. The upper

window shows the original audio

file, while the lower window

shows the file that has been

recorded via the VBus.

A nice feature of the Symphony system

is its support for high sample rates: up to

192kHz, even with Symphony Mobile on

a Macbook Pro. To give you some idea of

the performance hit when running the

system at 96 and 192kHz, I repeated the

same test. At 96kHz the Mac Pro reported

24 percent Logic usage when

record-enabled and 34 percent while

recording; the Macbook Pro showed 50

percent when enabled and 64 percent while

recording. At 192kHz, the Mac Pro indicated

50 percent Logic usage when

record-enabled and 66 percent during

recording; the Macbook Pro, on the other

hand, reported 75 percent when enabled

but gave all manner of Logic errors when

I tried to put the system into record.

Given the way the CPU usage was

increasing, I figured that my Macbook Pro

simply wasn t up to the task. Fortunately,

I happened to have a new, top-of-the-line

17-inch Macbook Pro to hand (with

a 2.4GHz Core 2 Duo processor, 4GB

memory and a 160GB, 7200rpm drive —

reviewed elsewhere in this issue) and

decided to try the same test on that.

Putting all 32 tracks into a record-enabled

state again (staying at 192kHz), the new

Macbook showed 51 percent usage, while

during recording the usage was 67 percent.

However, the internal disk would

occasionally not be able to keep up (it

would be fine using an external drive, but

I wanted to see what could be achieved

using only the Macbook Pro), so I reduced

the track count to 24 tracks (which also

stalled the old Macbook Pro, incidentally)

and this time registered a Logic usage of

59 percent.

The advantage of using a small

32-sample buffer is, of course, to achieve

low latency. At 44.1kHz, a 32-buffer sample

gives a latency of less than a millisecond

(0.73ms, to be more precise), although this

doesn t take into account converter latency

or any additional buffers that might be used

by the hardware. Symphony actually

provides two Performance Tuning modes:

Standard and High Performance. Standard

mode basically adds extra hardware buffers

to make the audio performance a little more

stable. Apogee recommend Standard mode

for Power Mac G5 users and High

Performance mode for everyone else (all the

results in this review are based on High

Performance mode).

To measure latency, I made a round-trip

recording at 44.1kHz with a 32-sample

buffer, connecting an analogue audio

output to an analogue audio input.

I measured approximately an 80-sample

difference between the original and the

new recording, which is a round-trip

latency of around 1.81ms — not bad at all,

with just 16 samples incurred over and

above the two 32-sample buffers for the

I/O ‘journey .

Conclusion

Apogee have largely achieved what they set

out to achieve with Symphony, offering Mac

users a professional system that provides

high-quality audio conversion and

low-latency performance at high sample

rates, with a large number of I/O channels.

On the whole, the system is pretty stable

and, given its highly configurable nature, it

deals with ‘state changes rather well.

Occasionally you ll see an error pop-up

saying that Symphony isn t properly

configured, but this usually happens when

the clock is set wrong or you ve changed

the state of the system (unplugging and

re-plugging converters or changing

between Standard and Advanced modes on

the AD16X or DA16X, for example). The

alert is usually followed by another to let

you know that everything s been

reconfigured correctly.

As mentioned in the introduction of this

article, since Apogee are aiming the

Symphony system at an area of the market

that wasn t previously catered for, there

aren t that many alternatives in terms of

direct competition. At the lower end of the

market, there s hardware such as MOTU s

PCI offerings, which can also provide

a large number of I/O channels, although

not with the same quality as Apogee s

converters, and I ve never witnessed quite

the same low-latency performance from

other systems either. Also, you don t get

the VBus channels.

The only other option would be to buy

one or more digital I/O cards, such as RME s

HDSP 9652 or MADI series (shortly to be

released in PCIe format) and add your own

stand-alone audio converters, be they

Apogees or something similar. This gives

you more choice, but requires a little more

effort to pick out the components. And

while you could get similar (or potentially

and subjectively better) audio converters

and good latency performance, you d still

miss the VBus channels and the consistency

of buying one system from one

manufacturer. While the Symphony system

can occasionally be a little confusing,

bearing in mind all the various routing

options with the different converters, it

does at least come together as one system,

with a single number to call if you have

questions.

Perhaps the deciding factor for most

people will be cost. Although the Symphony

and Symphony Mobile PCI cards are quite

affordable, priced at £558 and £393

respectively, Apogee s converters are

definitely in the ‘you get what you pay for

category (ie. high quality) and you have to

budget an additional £145 per converter for

an X-Symphony card. On the plus side, the

fact that you can mix and match converters,

as mentioned earlier, really means you can

start somewhat affordably, by buying either

a Rosetta 200 or 800, and add more

converters later. However, if you go down

this road, it s only cost-effective if you plan

on upgrading later: if two or eight channels

is all you ll ever need, buying a Symphony

system means justifying the additional

expense in terms of the quality of Apogee s

converters, the good performance at high

sampling rates and features like the VBus

channels. It can be a great deal if these are

indeed the features you re looking for, and,

at the high end, if you invest in a 96 I/O

system, it obviously works out cheaper than

investing in Pro Tools. To sum up, if Logic

Pro (or another Core Audio-based

workstation) is the centre of your music and

audio activities, Apogee s Symphony system

has a great deal to offer.

▲

www.soundonsound.com • september 2007

142

on test

computer

recording system

APOGEE SYMPHONY

See the ‘Symphonic Options’ box.

Sonic Distribution +44 (0)1582 470260.

+44 (0)1582 470269.

[email protected]

www.sonic-distribution.com

www.apogeedigital.com

information

• Rosetta 800

www.soundonsound.com/sos/mar04/

articles/apogee.htm

• Rosetta 200

www.soundonsound.com/sos/mar06/

articles/apogeerosetta.htm

• Big Ben

www.soundonsound.com/sos/aug05/

articles/apogeebigben.htm

Apogee Reviews In SOS

Cards

• Symphony PCIe/PCI-X card £558. A Mac

Pro will give best results, but you can also

use Symphony with a Power Mac G5.

• Symphony Mobile Express Card £393.

• X-Symphony card (one required for each

converter) £145.

Converters

• AD16X £2344.

• DA16X £2344.

• Rosetta 200 £1345.

• Rosetta 800 £2026.

Prices include VAT.

Symphonic Options

This article was originally published in Sound On Sound magazine, September 2007 edition.

Sound On Sound, Media House, Trafalgar Way, Bar Hill, ambridge, B23 8SQ, United Kingdom

Email: [email protected]

Tel: +44 (0) 1954 789888 Fax: +44 (0) 1954 789895

Subscribe & Save Money!

Visit our subscriptions page at www.soundonsound.com/subs

The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the

prior written consent of the Publishers. reat care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can

be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

The World’s Best Music Recording Magazine

Other manuals for AD-16X

This manual suits for next models