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Just wanted to know if anyone here has experience with using Symetrix DSPs in a cinema application? I know Q-sys is the system of choice now for cinema, but I'm on a budget for my home screening room and there are legacy Symetrix (SymNet 8X8DSP, Break-In 12, Break-Out12, Control I/O) processors for sale for cheap. I've used Symetrix before for pro sound installation and really liked the product. From what I've been able to put together in the design software I'm able to integrate a CP650, CP65/DTS and a home Atmos 11.2 receiver into one system AND preform all the automation and control need.
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While I've seen some of those Symetrix boxes in the field, I've never seen them being used in a cinema install. That doesn't mean they're not up to the task, but it usually means there are quite some gotchas. I guess Symetrix makes a lot of sense in an environment where Dante is the go-to protocol anyway, like many modern broadcast installations.
The primary reason for me not to use those boxes for cinema is the lack of readily available knowledge in the field for such setups. -
Since this is for you own home screening room, I say go for it. You also have experience with it, so it will be the perfect fit. (By the same token, I had spent several years using AMX AXxcess legacy hardware for automation, and have even used it in a few commercial applications, but not in the average multi cinema application.)
If you were talking about a client or regular cinema, I'd shy away from it as Marcel mentioned. Not too many are familiar with it and it could trip up someone who doesn't know it well. (Or is not a technician by trade.)Comment
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You can go for it. No question really.
I'm personally using Yamaha DME based systems in our cinema installations, and that's been available, when we started doing the first it in the 2000s. So I know, how to do it. Today I would use QSys, but whatever YOU know good enough to get working is fine. Cinema is not different from any other audio applications, you need in and outs, and DSP. Plus maybe control I/O ports. And the knowledge to get this done, so it works at the end, the way YOU want it.
If you're familiar with BSS sound web, use it, if it's Yamaha, go for it, and if you can get Symmetrix at a good rate, and you're familiar setting it up, it will be fine.
The advantage of QSys might be, there are more people in the cinema service field, that have knowledge of this gear, and are able to to do basic troubleshooting. But that's it.
Repeat, whatever YOU know best and can get reasonably, use it.Comment
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Thanks guys. Yes I know how to program them, I've installed them at a customer site for the company I work for. As long as the DSP has enough horsepower to process 12 channels simultaneously. So far according to the programming software it's DSP power budget is at about 90% for all 12 channels, so I may have have to split up the channels over two DSPs depending on how it preforms when I get it set up and installed. These are legacy units form Symetrix before Dante was on the scene. I don't need Dante anyway so these units seam like a good fit. So far in my design I have two 8X8DSPs - one for audio and one for automation and control, two 12Chanel input modules and two 12 channel output modules and two Control GPIO modules networked together to accommodate 5.1 from the CP65/DTS, 7.1 from the CP650 and 11.1 from my Atmos receiver with 15 channels of audio output to the amplifiers (with the three front chanels bi-amped) as well as dedicated booth monitor outputs, plus all the logic ins and outs to accommodate format control of all the processors as well as projector control, house light control. If it all works like I'm planning, it will be a sweet system.Comment
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Before the "miracle of Q-SYS" came along we at BL&S often would use Symetrix Radius as a DSP/Speaker Processor/Pa Processor etc... in Cinema installs. We would usually use the aes/ebu output card with a 650 and keep it all digital but there is no reason not to use the analog inputs which I have also done. I have also used Symetrix radius processors with dual 650's on premiere gigs and sent the screen channels to a Dante enabled stage box so yes Symetrix is A-OK.Comment
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Symetrix makes good stuff, though I've only ever used their analog products (microphone preamps and a power amplifier). They seem to be mostly in the broadcast industry.Comment
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I'd not be using that at home. Go for a working CP-65 and outboard DA-20 and or DTS XD-10 Then everything will happen right and the CP-65 is pretty hard to beat.Comment
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Thanks for the comments guys. I'm going to give Symmetrix a try, if I'm not happy with it I'll sell it and do something else. The theory of operation is this; DTS-6D feeding the CP65 for DTS and all of the analog formats. The CP650 is just going to be for SRD playback as well as running any external analog ProLogic processing I may need. (The reason I chose the cp650 is for the SRD-EX playback capability and the seamless transition it dose between SRD and SR. I'm using the CP65 for it's quality in processing the analog NR and the 2:4 matrix) I'll have a high quality relay routing the reverse scan preamp output between the CP65 and CP650. Symmetrix is handling all of my automation, system controls, format selection and DSP for all 12 channels. When I select SRD, it will pulse the CP650 to format 10 AND pick the relay to route the analog reader output to the CP650 so that I have SR backup if/when SRD drops out. When I select any other film format, the Symmetrix will deactivate the relay to route the analog reader to the CP65 as well as pulse the CP65 to the format I selected. At the same time, the Symmetrix will be handling it's own internal audio signal routing between the CP650 and CP65. Similar operation will be used for an external ATMOS home receiver that will be controlled through the Symmetrix via RS-232. All outputs from the CP65, CP650 and ATMOS will be flat and at line level so that no matter which format is selected, I'll have the same B-chain alignment for all formats.
Thanks,
ChrisComment
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