In the left rack, the Apogee Symphony I/O can be seen.

You can see an Apogee Symphony converter at the 2:25 mark.

You can spot Apogee's famous interface in his desk.

The Symphony I/O is Young Guru's audio interface of choice. In an interview with Apogee, when asked what features of it he likes he responds "Obviously that you can use it for Logic and Pro Tools. Someone should have thought of that a long time ago, to run Pro Tools HD and Logic, or anything native, on the same system, to be able to switch between HD Pro Tools and another native system is incredible... I loaded up some of my past sessions that I had used with another system, and it sounds 100% better coming out of the Symphony I/O converter."

It's seen at 0:11 into the this video.

The "Pro Tools Rig" at Trevor Horn's Sarm West Coast LA studio includes: Mac Pro, Digidesign 192, Apogee Symphony, Apogee AD8000 SE, Digidesign Sync I/O, Pro Tools 10 HD2, Logic Pro X

In an Instagram post captioned "Christmas in the studio!!!!," Sebjak showcases the Apogee Symphony I/O, highlighting its use in his recording setup.

Dave Clarke talks to future music about his production techniques

Item can be seen 6:00 into this video

In this interview Kurstin states that he recorded Sia voice on Chandelier into the Apogee Symphony I/O.

Working on a new API 1608 console with Logic 8, an Apogee Symphony interface and a UAD-2 card (an early version sent to the band by Universal Audio), Price found that the relatively stripped-down setup was a blessing in disguise.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.