Avid HD | OMNI Interface/Preamp
4×8 analog or 8×8 digital Pro Tools Interface with 2 digitally controlled preamps
Avid HD | Omni is a “one box to rule them all” audio interface that lets you track, mix, and monitor in a single rack space unit with superb-sounding AD/DA, two digitally controlled, transparent preamps, and enough I/O to rule the rest of your gear
Avid’s Pro Tools HD | Omni is for the small studio owner, composer suite, or video edit suite. It’s also great for the home recording enthusiast who builds tracks one at a time and wants to step up from Pro Tools | Mbox and Pro Tools Express software to the power of Pro Tools | HD. Pro Tools HD | Omni is the perfect starting point to build a professional Pro Tools system. It gives you a broad range of comprehensive I/O—the bane choosing any interface—enabling you to connect to a wide variety of gear, plus HD | Omni’s Loop Sync I/O lets it work in conjunction with any of the Pro Tools HD family of interfaces so your studio can grow with you. It also features two digitally controlled, studio-quality preamps on top of world-class converters. Thanks to its ultra low latency (1.7ms), Avid Pro Tools HD | Omni also solves the problem of DAW monitoring delay, which otherwise disconnects musicians from their performance, resulting in poorly timed, uninspired tracks. If you’re looking for a budget-friendly means to build a Pro Tools-enabled, professional, project, or home studio, Avid Pro Tools HD | Omni is where you begin.
Avid HD | Omni Interface/Preamp unique features:
- Tight integration with Pro Tools|HD for full routing, mixing, and monitoring control
- Monitoring flexibility including 7.1 surround and stereo fold down
- Functions as a standalone 14×26 channel mixer when computer is off
- Connects to Pro Tools|HD through a DigiLink mini connector with cable and adapter included (select PCIe or Apple Thunderbolt)
Avid HD | Omni Interface/Preamp key features:
- State-of-the-art A/D and D/A conversion provides impeccable audio clarity and ultra-low latency
- High-quality, low-noise analog I/O:
- 2 studio-quality, digitally controlled mic/DI preamps
- 4 line ins
- 8 line outs, with true analog gain
- Versatile digital I/O, with sample rate conversion on all inputs
- 8 channels of ADAT I/O (supports S/MUX II and IV)
- 4 line inputs
- 8 line outputs, with true analog gain
- Supports 4×8 analog audio streams, or 8×8 including digital
- Route audio independently from Pro Tools with the 14-input standalone monitor mixer
- Track hotter signals with built-in Curv soft-knee limiter
- Improve communication while tracking with dedicated cue path
- Keep things in sync with dedicated Word Clock and Loop Sync I/O
- Compact 1U rack-mountable chassis
INSIDE THE BOX — Avid Pro Tools HD | Omni Interface/Preamp
The “Omni” in Avid’s Pro Tools HD Omni doesn’t just refer to its copius complement of I/O. With HD Omni you can track, mix, and monitor with audiophile-quality AD/DA and high-quality preamps without taking up more than a single space in your rack. Better still, HD Omni lets you track with a performance-empowering latency of a mere 1.7ms (!!). HD Omni also provides sample rate conversion and a selectable soft-clip feature for worry-free tracking. HD Omni’s Curv is a built-in, soft-knee limiter that catches the fastest of transients. With Curv enabled, you can track hotter signals and be assured that any unexpected peaks in your input won’t put you in the red. Or, if you’re a purist seeking a pristine signal path (finally, the right usage of the word, “pristine” in pro audio i.e., untouched), you can disable Curv and continue to seek the ever elusive “straight wire with gain.”
State-of-the-art A/D and D/A conversion
And speaking of sound quality, Avid designers have long put to rest the notion that you need to use outboard converters to get the best quality sound with Pro Tools interfaces. Turning the full force of their considerable expertise, having creating the DAW that’s remains the industry standard since its introduction, HD Omni’s converters achieve the highest audio fidelity, extensive dynamic range, and super-low jitter. To achieve this quality, HD Omni conversion employs the Cirrus Logic CS5381 A/D chip found in only the best converters available.
Not only does HD Omni provide dedicated cue mixes enabling artists to monitor and track to a personalized, dedicated mix, it wouldn’t be Avid if you couldn’t use it for post production. HD Omni puts overdub and Foley recording at your disposal, plus you can monitor mixes in your choice of stereo, 2.1, LCR, LCRS, Quad, 5.0, 5.1, 6.0, 6.1, 7.0, and 7.1 surround with selectable fold down to almost any channel subset. Did we mention that Pro Tools HD Omni also lets you check your mixes for mono compatibility (still very useful when your mixes are going to be played on television).
Mixers, both amateur and professional alike, will appreciate HD Omni’s ability to switch between Main and ALT speaker outputs to check mix translation on different sets of monitors. Or, you can take the room modes out of the equation and perform critical listening tasks via its audiophile quality headphone output. Plus, if you want to concentrate on composition or arrangement without wasting power running your Pro Tools DAW, the HD Omni can function as a customizable, standalone 14-input monitor mixer, allowing you to monitor external sources such as synths, keyboards, drum machines, and even digital players independently from your recording setup.
OUTSIDE THE BOX — Avid Pro Tools HD | Omni Interface/ Preamp
The front panel of the HD Omni was designed to be as practical as it is a joy to look at. Speaking of which, giving you visual system status cues from across a dark studio, its on/off power button is surrounded by an LED ring that lets you know when the unit is powered up (amber) and when Pro Tools is running (green). The front panel has two XLR/1/4″ TRS combo jacks for mic and instrument input. These preamps inputs can be linked in stereo so that one set of controls acts as a master for both preamps (great for tracking overheads, rooms, or stereo piano). Preamp controls include Mic/Line/DI select; -20dB pad; independent +48V phantom power; 12dB/octave high-pass filter at 85Hz; Link 1&2 button; phase invert; insert enable button; preamp display, which shows gain from +10dB to +65dB; and a preamp encoder that controls gain.
Also on the front panel are synchronization and sample rate LED indicators; 5-segment LED signal level meters for channels 1-8 with a toggle button to select input or output metering; monitor controls and display, which allow you to configure monitoring options for control room outputs, (Main and Alt), Mute, Alt, and Cue to headphones, headphone output, and setup; and finally, a 1/4″ TRS headphone out.
To complement its convenient front-panel Mic/Line/DI inputs, the rear panel hosts two XLR mic inputs (if you like your front panel cable-free), each with dual 1/4″ send and return, which let you use outboard gear (such as compressors or EQs) at the signal input stage. Inserts are placed after the pad, preamp, and high-pass filter, but before the Soft Clip or Curv limiter circuits and the analog-to-digital converter. Avid Pro Tools HD Omni’s rear panel also houses four line-level 1/4″ TRS inputs, two 1/4″ TRS outputs, two DB-25 connectors for 8-channel analog out, and 8-channel AES/EBU digital output. The HD Omni digital I/O also includes a stereo XLR AES/EBU input that supports sample rates up to 192kHz via AES single wire (AES is the professional way to return effects).
Completing its digital I/O are four BNC connectors for word clock in/out and Loop Sync in/out; coaxial S/PDIF RCA in/out that also supports up to 192kHz resolution; and four ADAT optical ports that support S/MUX 2 and S/MUX 4 for sample rates from 44.1/48kHz (eight channels) to 88.2/96kHz (four channels) and 176.4/192kHz (2 channels) respectively. Output levels can be set in Pro Tools to operate at +10dBu (speaker level) or at +24dBu (line level).
The Avid HD Omni rear panel also hosts two DigiLink mini ports. The Primary port in conjunction with the Expansion port can send and receive up to 32 channels from a Pro Tools HD card. And finally, not to be left out, an IEC power connector accepts a standard AC power cord. For global use, the Avid HD Omni is auto power-selecting from 100V to 240V.
Which should I use, Thunderbolt or PCIe?
PCIe is well known for its high speed and ability to function seamlessly with audio interfaces, but the new generation of Macs are Thunderbolt-equipped and lack the expansion slots for PCIe. As such, using Thunderbolt is chosen for you (see below). However, if you have PCIe processing cards you don’t want to lose, such as a UAD-2 Quad or video capture card, a PCIe expansion chassis will let you integrate your PCIe cards to your new new Mac via Thunderbolt 2, allowing you to keep your powered plug-ins without re-investing. If you’re using a legacy Mac Pro silver tower (up to 2012), or plan on buying a refurbished one, then PCIe is the only option.
If you are using or planning to buy a PC workstation, such as one of the Avid-certified HP Z-series, PCIe is also your only option.
Avid Pro Tools | HD Native Thunderbolt
Avid’s Pro Tools|HD Native Thunderbolt interface is blazingly fast, virtually eliminating the performance-obstructing and annoying latency found on most USB or FireWire interfaces. Avid Pro Tools|HD Native Thunderbolt employs 64-bit floating-point processing, which gives you up to 256 tracks on 64 channels, plus greater headroom and mix resolution than other Native solutions, with performance rivaling that of any professional MADI or PCIe audio system.
Thunderbolt’s speed and simplicity make it the perfect companion for mobile systems, such as the HD Omni, by providing audio professionals the sound quality, low latency, and power of Pro Tools HD. With Pro Tools|HD Native Thunderbolt, you can use your MacBook, Mac Mini, or iMac to connect with your HD Omni. Plus, the Thunderbolt interface has an audiophile-quality headphone amp that gives you an additional headphone out for monitoring alongside your HD Omni. Plus, it’s powerful enough to drive high-impedance headphones.
Why Select an Avid Pro Tools HD | Omni interface/preamp?
Perhaps the most frustrating aspect of configuring a studio, and even buying pro audio gear at all, is discovering (often too late) that the unit you’ve been coveting has either the wrong, or not enough I/O for your needs. Avid Pro Tools HD Omni provides numerous options for connectivity to ensure that you can connect with any type of legacy or current I/O you have.
With 4×8 analog I/O, 8×8 ADAT I/O, 2-channel AES3, stereo S/PDIF, and word clock I’O, there isn’t anything you can’t connect to this preamp/interface, hence the name, Pro Tools HD Omni. But that’s not the only reason the HD Omni Interface/Preamp is the perfect starter for your serious Pro Tools rig. It’s designed to grow with you via its Loop Sync I/O, which lets you interface with any of Avid’s Tools|HD family of systems, which feature user-selectable I/O, thus maintaining compatibility as you add more outboard, and enabling the HD Omni to stay relevant to your studio as it grows. All in all, a great way to start out cost-effectively and protecting your initial investment into the future. As the wise old sage once said, “The journey to a mega Pro Tools rig begins with a single interface/preamp.” Obviously he was referring to the Avid Pro Tools HD Omni.
Who’s Using Avid?
Avid’s HD family of interfaces have consistently won in shootouts with dedicated high-end converters and are the choice of Grammy-winning engineer/mixers such as Frank Filipetti (welcome home, Frank), Mick Guzauski, and many others of that caliber.
About Avid Technologies
Avid is the world’s leading provider of audio and video technology for media organizations and independent professionals. Avid customers use Avid solutions to create, distribute, and monetize the most prestigious and award-winning films, videos, music recordings, TV shows, live concerts, and news broadcasts.
With stellar sound quality, extreme flexibility and connectivity, plus the ability to grow with your studio, choosing an Avid Pro Tools HD Omni interface-preamp is a no-brainer. For more information, call or chat with a Westlake Pro sales consultant.
|Dimensions||26 x 14 x 8 in|
|Loop Sync I/O||
|Pro Tools HD||
4 in x 8 out (Analog), 8 in x 8 out (Digital)