As the hub of any music studio, the HD OMNI digital audio interface from Avid can be used to record high-quality instrument and vocal performances, while providing dedicated cue mixes for artists, monitoring their performance through a discrete mix. No need for multiple interfaces. Everything can be done within the single-space rack HD OMNI.
Overdub and foley recording capabilities are available for post production, in addition to the ability to create monitor mixes with up to 7.1 channels. Furthermore, the user can fold down mixes from 7.1 to almost any channel configuration subset required.
The interface features premium analog-to-digital and digital-to-analog converters that deliver high audio fidelity, extensive dynamic range, super-low jitter, and the lowest possible latency. Built-in sample-rate conversion and a soft-clip feature allow for worry-free performances, while Curv, a built-in soft-knee limiter catches even the fastest transients.
For those occasions when the Pro Tools software doesn't need to be launched, or when you do not want to turn on the computer, the interface features as a built-in, customizable, 14-input monitor mixer, allowing for the continued monitoring of external sources, such as keyboards, drum machines, and digital music players, independently from the recording setup.
The interface provides maximum performance, dependability, and control of all inputs, outputs, and routing, right from the Pro Tools software interface. The interface and Pro Tools HD hardware will function with other DAW software via full support of Core Audio and ASIO drivers.
- 24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, with support for sample rates up to 192 kHz
- Two high-quality microphone/DI preamps
- Two XLR and 1/4-inch TRS front panel combo inputs for microphone and instrument level input
- Two XLR back-panel microphone inputs
- Two 1/4" TRS send jacks and two 1/4" TRS return jacks, for hardware inserts on channels 1 and 2 (back-panel)
- Four analog 1/4" TRS line level back panel inputs (channels 1-4)
- Soft Clip and Curv limiting circuits to protect against clipping on analog inputs
- Eight channels of analog output using a DB-25 breakout cable (sold separately) with variable output gain
- Two channels of analog output using 1/4" TRS jacks (mirrors channels 1-2 or 7-8 on DB-25 connector)
- Front panel stereo 1/4" headphone jack
- Route audio independently from Pro Tools with the 14-input persistent monitor mixer
- Eight channels of AES/EBU output (up to 192 kHz single wire) using a DB-25 breakout cable (sold separately)
- Two channels of AES/EBU XLR input (up to 192 kHz single wire)
- Two channels of S/PDIF RCA input and output (up to 192 kHz)
- Eight channels of ADAT TOSLink input and output
- Support for ADAT S/MUX optical for sample rates of 88.2, 96, 176.4 and 192 kHz
- Support for two channels of S/PDIF optical with sample rates of up to 96 kHz
- Real-time sample rate conversion (SRC) on digital Inputs 1-2 of either AES/EBU, S/PDIF, or optical S/PDIF
- Additional stereo CUE output path in Pro Tools for headphone monitoring from the front panel headphone jack
- Front panel Control Room (Main/Alt) and headphone monitoring volume control
- Flexible monitoring with fold-down from all stereo and surround formats (up to 7.1 surround)
- Input mixer for low-latency direct monitoring of a variety of incoming signals (configured in the Pro Tools Hardware Setup)
- Loop Sync input and output for connecting additional Pro Tools HD interfaces and peripherals
- External Clock input and output for synchronizing HD OMNI with external wordclock devices