“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-Nominated Producer/ Songwriter / Engineer

“I off-rip noticed how dope the compression is and I really enjoy plugging the nylon into this. It makes up for a lot of the compression needs you might have playing that guitar.  You just don’t have to try as hard. Which is really cool.”

Tim Henson

Polyphia

“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 Mix Engineer / Producer

“In the world of digital noise, Apogee stands out as a beacon of truth and authenticity, both in sound and spirit; a true inspiration.”

Jesse Ray Ernster

Grammy Award-Winning Mixer

“My first impression of Jam X was, wow, I probably don’t have to bring my giant recording rig with me on tour anymore. The built-in compressor sounds so good and allows me to do less work on the back end.”

Jed Elliott

The Struts

“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 Winning Recording / Mix Engineer

“Truly draw dropping. I have Dangerous Converts, Pure 2 by Antelope, and Lynx Hil0 – they’re all unplugged. They have gotten zero use since I installed the Symphony Mk II 16×16 Special Edition.”

Will Borza

Grammy Award Winning Mastering Engineer