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Apogee Symphony I/O Mk II 3 quarter angle
Apogee Symphony I/O Mk II 3 quarter angle

Symphony Mk II

Flagship Audio Interface

Symphony Mk II is a multi-channel audio interface featuring Apogee’s flagship AD/DA conversion, modular I/O (up to 32 inputs and outputs), intuitive touchscreen display and optional world-class microphone preamps. Designed to deliver professional sound quality for audio recording, mixing and mastering.

A New Standard

Build Your Own Symphony Mk II

Want to build your own custom Symphony I/O Mk II and get a breakdown on the price*? Click the button below to see use our Build Your Own Symphony I/O Mk II page. Choose your modules, connection type, & more. 

*U.S. Price. Tax not included.

Platform Options

Choose your desired connectivity type to fit your studio. Symphony Mk II offers 3 different connectivity modules to choose from; Thunderbolt, Pro Tools + (Dante u0026 Pro Tools), and Waves SoundGrid.

The Magic is in the Modules

The I/O Modules are the sound and soul of Symphony I/O Mk II. Giving you total flexibility to build your dream interface. Our special edition modules offer you our highest performing system we have ever created.

Ready for Immersive Audio

With Symphony I/O Mk II Thunderbolt’s Monitor Workflows, you’ll effortlessly configure and operate your monitoring system for Dolby Atmos, Sony 360 Reality Audio and other immersive audio systems with control of up to 32 Speaker outputs.

Hear The Difference

Specifications

Highlights

Modules

Specs

Compatibility

  • Best AD/DA conversion of any Thunderbolt Audio Interface
  • Up to 32 Channels of modular analog I/O
  • Ultra-low latency performance
  • Intuitive touchscreen display
  • Designed and Built in the U.S.A.
  • Connectivity options: Pro Tools Plus, Thunderbolt, & SoundGrid
  • 16×16 Special Edition
  • 2×6 Special Edition
  • Connect 8 x 8 MP

Analog to Digital

 

  • THD+N: -115 dB @ 22dBu (0.00020%) unweighted
  • Dynamic Range: 122dB A weighted
  • Maximum input levels:
    • +4dB setting: +24dBu
    • -10dB setting: +6dBV
  • Frequency Response at 44.1 – 20,000 kHz (+/- 0.05dB)
  • Input impedance: 10K

 

Digital to Analog:

 

  • THD+N:-119dB @ 21 dBu (0.00014%) unweighted
  • Dynamic Range: 126 dB A weighted
  • Max output levels – ∞ to +24dBu
  • Frequency Response at 44.1 kHz: dc to 20 kHz (+/- 0.05dB)
  • Output impedance: 50 Ohm
  • Outputs are balanced through Apogee’s proprietary Perfect Symmetry Circuitry (PSC)

 

Headphone Output:

 

  • 1 stereo 1/4″ headphone output on front panel
  • THD+N:
    • -110dB @19dBu into 600 Ohm (=80mW)
    • -101dB @14dBu into 32 Ohm (=470mW)
  • Dynamic Range: 121 db A weighted
  • Output: Apogee’s proprietary Constant Current Drive™ provides smooth frequency response with any headphones.

 

Power

 

  • 90-240VAC, 50-60Hz, 150W

Operating System:

 

  • Thunderbolt: Mac OS only 10.10 and above
  • HD: Any Mac or PC running Pro Tools HD 9 or greater.
User Guide PDF (6.87 MB)
What is the difference between the Symphony Desktop and the Symphony MK II? arrow down

Both interfaces have incredible digital conversion. The difference between Symphony Desktop and Symphony Mk II comes down to features, rather than quality (except for the SE I/O modules, which are our top-of-the-line Symphony Mk II modules). If you are tracking more than two instruments, if you are mixing in surround or immersive, or if you have many different forms of outboard gear and want to run inserts for effects, that can be accomplished with the Symphony Mk II.

Why isn’t Thunderbolt 3 or 4 on Mk II? arrow down

Audio does not require the amount of bandwidth that Thunderbolt can provide. The Symphony Mk II comes with Thunderbolt 2, because there is no performance difference between Thunderbolt 2, 3, and 4.

What is the difference between SE and non-SE I/O modules? arrow down
The new 16×16 SE I/O module is the first Apogee product to feature the ESS 9822pro A/D chip. This component, like everything from ESS, raises the bar of A/D conversion performance. Another innovation with the new SE I/O module is the use of a new ultra-low distortion analog output driver that can drive headphones. It’s been our experience that the analog output stage is critical to preserving the quality of the entire Apogee signal path.
What is different about the Symphony Mk II compared to other brand interfaces? arrow down

Apogee’s core competence is, of course, digital conversion technology. The cascaded power supplies, the C777 clock circuit, the analog sections of the A/D and D/A, and the Constant Current headphone output also contribute to the Symphony’s quality. Symphony has always featured a completely balanced signal path, including fully differential analog op-amps. Virtually all other interfaces offer balanced I/O but an unbalanced internal signal path, using more common op-amps with inferior performance. Apogee employs a 32-bit digital attenuation process, so there are no concerns of resolution reduction.

How do I set up the Symphony I/O Mk II to mix in Dolby Atmos? arrow down

Here is a video series we recently put together that shows the workflow of using Symphony MKII thunderbolt with our Monitoring Workflows and Atmos:

 

What the Pro’s are saying

“When you’re working with high-profile artists, you don’t want the weakest link to be the converters. With the Symphony MK II, it’s pristine. I know that if it’s Apogee gear, it’s the best!”

Andrew Bolooki

Grammy Award Winning Engineer / Producer

“The Symphony Mk II 16×16 Special Edition is the perfect tool for Dolby Atmos. It’s transparent and does everything you ask of it. I have been using to mix Jimi Hendrix in Dolby Atmos and it’s amazing.”

Eddie Kramer

Grammy Award Winning Engineer / Producer

“The heart of our system is the Symphony Mk II 16×16 and it provides a sense of clarity and depth that we haven’t found in other interfaces. We also use the Symphony Desktop on the road to retain that same level of conversion quality.”

Jordan Stilwell

Grammy Award Winning Engineer

Ryan Shanahan is the engineer of Zedd
“The flexibility and expandability of the Symphony Mk II system, Soft Limit, and the transparent sound made this choice an easy one.”

Ryan Shanahan

Grammy Award Winning Engineer