HD OMNI Guide

Version 8.1

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 Legal Notices
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laws, this guide may not be duplicated in whole or in part
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Guide Part Number 9320-62019-00 REV A 03/10

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 contents

Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
HD OMNI Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 2. HD OMNI Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

HD OMNI Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
HD OMNI Back Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 3. Connecting HD OMNI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Pro Tools|HD Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Example Studio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Chapter 4. Configuring HD OMNI in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Pro Tools Hardware Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Pro Tools I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chapter 5. SETUP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

SETUP Mode Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Analog Output (OUTLVL). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Analog Output Trim (OUTRIM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
TRS Output Mirrors (TRSOUT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Fold Down (FOLDWN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Analog Line Input Reference Level (IN REF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Limiter (LIMITR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Internal Sample Rate (SRATE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Contents iii

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 Clock Source (CLOCK) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Digital 1–2 Input Source (DIG1–2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Sample Rate Conversion (SRC1–2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
SPL Display Calibration (SPLCAL). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Fan Control (FAN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Firmware Version (VER). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Factory Reset (RESET) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Display Contrast (CNTRST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Appendix A. Pinout Diagrams for the DB-25 Connectors . . . . . . . . . . . . . . . . . . . . . . . 51

Analog Output DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
AES/EBU DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Appendix B. Sound Pressure Level Display Calibration . . . . . . . . . . . . . . . . . . . . . . . . . 53

Appendix C. Compliance Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Environmental Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Safety Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

iv HD OMNI Guide

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 chapter 1

Introduction

HD OMNI is a professional digital audio inter- • Soft Clip and Curv limiting circuits to protect
face designed for use with Pro Tools|HD® against clipping on analog input.
systems. HD OMNI provides a compact preamp, • 8 channels of analog back panel output using
input mixer, monitoring, and I/O solution for a DB-25 breakout cable (sold separately) with
music production and recording, and post variable output gain
production studios.
• 2 channels of analog back panel output using
TRS (Mirrors channels 1–2 or 7–8 on DB-25
connector)
HD OMNI Features • Front panel stereo 1/4-inch headphone jack
Analog I/O
Digital I/O
• 24-bit analog-to-digital (A/D) and digital-to-
• 8 channels of AES/EBU output (up to 192 kHz
analog (D/A) converters, with support for
Single Wire) using a DB-25 breakout cable
sample rates up to 192 kHz
(sold separately)
• 2 high-quality Mic/DI preamps (Channels
• 2 channels of AES/EBU XLR input (up to
1–2)
192 kHz Single Wire)
• 2 combined XLR and 1/4-inch TRS front panel
• 2 channels of S/PDIF RCA input and output
inputs for microphone and instrument level
(up to 192 kHz)
input
• 8 channels of ADAT TOSLINK input and out-
• 2 XLR back panel microphone inputs
put
• 2 1/4-inch TRS Send and 2 1/4-inch TRS Re-
• Support for ADAT S/MUX Optical for sample
turn back panel jacks for hardware inserts on
rates of 88.2 kHz, 96 kHz, 176.4 kHz, and
channels 1 and 2
192 kHz.
• 4 analog TRS line level back panel inputs
• Support for two channels of S/PDIF Optical
(Channels 1–4)
with sample rates of up to 96 kHz.
HD OMNI provides multiple analog input • Real-time sample rate conversion (SRC) on
connections, but only provides up to four Digital Inputs 1–2 of either AES/EBU, S/PDIF,
channels of simultaneous analog input for or Optical (S/PDIF)
Pro Tools.
SRC is not supported with ADAT S/MUX.

Chapter 1: Introduction 1

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 Monitoring
• An additional stereo “CUE” output path in
System Requirements and
Pro Tools for headphone monitoring from the Compatibility
front panel headphone jack HD OMNI requires a qualified Pro Tools|HD sys-
• Front panel Control Room (MAIN/ALT) and tem. Pro Tools HD supports only one HD OMNI
Headphone monitoring volume control per system.
• Flexible monitoring with fold-down from all Avid can only assure compatibility and provide
stereo and surround formats (up to 7.1 sur- support for hardware and software it has tested
round) and approved.
• Input mixer for low latency direct monitoring
For complete system requirements and a list of
of a variety of incoming signals (configured in
qualified computers, operating systems, hard
the Pro Tools Hardware Setup)
drives, and third-party devices, visit:
Synchronization www.avid.com/compatibility

• Loop Sync input and output for connecting

additional Pro Tools|HD interfaces and pe-
ripherals Registration
• External Clock input and output for synchro- Review the enclosed Registration Information
nizing HD OMNI with external Word Clock Card and follow the instructions on it to quickly
devices. register your purchase online. By registering,
you become eligible to receive the following:
• Technical support information
What’s Included • Software update and upgrade notices
• HD OMNI audio interface • Hardware warranty information
• AC power cable
• DigiLink to DigiLink Mini adapter cable
• BNC cable (18 inches [0.46m]) About This Guide
• HD OMNI Guide This guide provides a basic overview of the
• Health and Safety Guide HD OMNI features and functionality.
• Registration Information Card
For complete instructions on connecting and
configuring your Pro Tools|HD system, see the
Pro Tools|HD User Guide.

For additional information about using

Pro Tools software, see the Pro Tools Reference
Guide (in Pro Tools, choose Help > Pro Tools
Reference Guide).

2 HD OMNI Guide

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 Conventions Used in This Guide
About www.avid.com
All of our guides use the following conventions
to indicate menu choices and key commands: The Avid website (www.avid.com) is your best
: online source for information to help you get
Convention Action the most out of your Pro Tools system. The fol-
lowing are just a few of the services and features
File > Save Choose Save from the available.
File menu
Product Registration Register your purchase
Control+N Hold down the Control key
and press the N key online.

Control-click Hold down the Control key Support and Downloads Contact Avid Customer
and click the mouse button Success (technical support); download software
updates and the latest online manuals; browse
Right-click Click with the right
mouse button the Compatibility documents for system re-
quirements; search the online Knowledge Base
The names of Commands, Options, and Settings or join the worldwide Pro Tools community on
that appear on-screen are in a different font. the User Conference.

The following symbols are used to highlight Training and Education Study on your own using
important information: courses available online or find out how you can
learn in a classroom setting at a certified
User Tips are helpful hints for getting the Pro Tools training center.
most from your system.
Products and Developers Learn about Avid
products; download demo software or learn
Important Notices include information that
about our Development Partners and their plug-
could affect your data or the performance of
ins, applications, and hardware.
your system.
News and Events Get the latest news from Avid
or sign up for a Pro Tools demo.
Shortcuts show you useful keyboard or
mouse shortcuts.

Cross References point to related sections in

this guide and other Pro Tools guides.

Chapter 1: Introduction 3

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 4 HD OMNI Guide

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 chapter 2

HD OMNI Overview

This chapter provides an overview of the front and back panel features of HD OMNI.

If you are installing your Pro Tools|HD system for the first time, see the Pro Tools|HD User Guide
for complete system installation and configuration instructions. If you are adding the HD OMNI to
an existing system, see the Expanded Systems Guide.

HD OMNI Front Panel

HD OMNI Front Panel

Power Switch and LED Ring CH1 and CH2 Inputs

This button turns HD OMNI on and off. The front panel Channel 1 (CH1) and Channel 2
(CH2) Inputs provide combined XLR and
When powering on HD OMNI, the LED ring 1/4-inch TRS inputs for microphone and instru-
around the power button lights green, flashes ment level input. Use XLR for microphone con-
amber, and then turns back to green. nections and use 1/4-inch for instrument con-
The LED ring is amber when the unit has power, nections.
unless Pro Tools is running. The LED lights
green only when Pro Tools is running.

Chapter 2: HD OMNI Overview 5

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 Preamp Controls PAD Enables (or disables) a –20 dB pad for both
Channel 1 and Channel 2 inputs. The PAD but-
The front panel Channel 1 and 2 inputs provide ton LED lights when the pad is enabled.
high-quality Microphone and Instrument level
preamps. These two preamp channels can be When Link 1 & 2 is disabled, PAD can be inde-
linked so that changing any parameter on either pendently enabled (or disabled) on Channels 1
channel causes an identical change to the other and 2 by pressing the PREAMP Encoder to select
preamp channel (this is useful for stereo the desired channel.
sources). When unlinked, the parameters for
each preamp can be set independently. When using the INST input with some
instruments (such as a guitar or bass),
you may want to engage the Pad to avoid
clipping on input.

48V Enables (or disables) 48V phantom power

for the Channel 1 and Channel 2 XLR inputs.
CH 1 and CH 2 MIC/LINE/DI Inputs, and Preamp The 48V button LED lights when the phantom
controls
power is enabled. You can manually enable or
Input Type Lets you select MIC, LINE, or INST for disable the 48V option only when the Input
input on Channels 1 and 2. The corresponding Type is set to MIC. When switching to another
LED lights to indicate which option is selected. Input Type (such as LINE), phantom power con-
tinues to be supplied to the MIC channel.
When MIC is selected, the back panel MICRO-
PHONE inputs are used for channel 1 and 2 in- When Link 1 & 2 is disabled, 48V can be inde-
put, unless an XLR cable is connected to the pendently enabled (or disabled) on Channels 1
front panel CH1 or CH2 inputs, then the front and 2 by pressing the PREAMP Encoder to select
panel connection is used. Remove the XLR cable the desired channel.
from the front panel connector to regain use of
the rear panel MIC connection. Inserting or removing an XLR cable to or
from the front panel inputs automatically
When LINE is selected, the back panel LINE IN 1 disables phantom power (if it is on).
and 2 1/4-inch TRS inputs are used.
High Pass Filter Enables (or disables) a
When INST is selected, the front panel 1/4-inch 12 dB/octave high-pass filter with a roll-off start-
TRS inputs are used. ing at 85 Hz for the Channel 1 and Channel 2
inputs. The High Pass Filter button LED lights
When Link 1 & 2 is disabled, the Input Type can
when the high-pass filter is enabled. This option
be independently enabled (or disabled) on
is not available when the Input Type is set to
Channels 1 and 2 by pressing the PREAMP En-
LINE.
coder to select the desired channel.
When Link 1 & 2 is disabled, the High Pass Filter
When the Input Type is set to LINE, the
can be independently enabled (or disabled) on
PREAMP is bypassed. Also, the preamps for
Channels 1 and 2 by pressing the PREAMP En-
the MIC/INST inputs do not change level
coder to select the desired channel.
when LINE is selected, so you can easily re-
vert back to MIC or INST input.

6 HD OMNI Guide

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 Phase Invert Inverts the phase for the Channel 1 INSERT Enables (or disables) the returns for any
and Channel 2 front panel inputs. The Phase In- hardware inserts connected to the back panel
vert button LED lights when this option is en- Channel 1 and Channel 2 input and output
abled. pairs. Note that the sends are always active.

When Link 1 & 2 is disabled, Phase Invert can be When Link 1 & 2 is disabled, INSERT can be in-
independently enabled (or disabled) on Chan- dependently enabled (or disabled) on Channels
nels 1 and 2 by pressing the PREAMP Encoder to 1 and 2 by pressing the PREAMP Encoder to se-
select the desired channel. lect the desired channel.

PREAMP Display Shows the gain value (+10 to Preamp Signal Path
+65 dB).
The Channel 1 and Channel 2 front panel in-
When Link 1 & 2 is disabled, gain boost or atten- puts use the following signal path:
uation for either Channel 1 (P1) or Channel 2 Input Signal > Pad > Preamp > HPF > Insert >
(P2) can be independently adjusted by pressing Limiter > ADC > Phase Invert
the PREAMP Encoder to select the desired chan-
nel.
Synchronization and Sample Rate
PREAMP Encoder Lets you adjust the input gain LEDs
for MIC and INST inputs (by rotating the en-
coder), and toggle front panel controls between
the two preamp channels (by pressing). Press
the encoder to toggle between P1 and P2 (Chan-
nel and Channel 2). Turn the encoder clockwise
to increase and counterclockwise to decrease the
input gain for the selected channel (from +10 to
+65 dB). Gain can be adjusted in 1 dB incre-
ments.
Synchronization and Sample Rate LEDs
LINK 1 & 2 Links (or unlinks) controls for the
Sync Mode LEDs
Channel 1 and Channel 2 front panel inputs.
The Link 1 & 2 button LED lights when this op- The SYNC MODE LEDs indicate the current
tion is enabled. If the two channels are linked, Clock Source as set in the Pro Tools Hardware
when levels between channels 1 and 2 are differ- Setup (see “Pro Tools Hardware Setup” on
ent, the difference is maintained when changed page 23) or on HD OMNI in SETUP mode (see
the levels until an upper or lower limit (+10 or “Clock Source (CLOCK)” on page 45).
+65) is reached. When the upper or lower limit
is reached by one of the channels, you can con- INT (Internal) Indicates the HD OMNI sample
tinue to adjust the level of the other channel un- clock is generated by its internal crystal oscilla-
til the limit is reached, but the difference be- tor, as determined by the session Sample Rate.
tween the two channels is no longer EXT (External) Indicates that the HD OMNI is ei-
maintained.
ther using the EXT CLOCK IN port or a digital
source for system synchronization.

Chapter 2: HD OMNI Overview 7

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 When synchronized to Word Clock, External LOOP Indicates that the HD OMNI is slaving to
Clock input and output do not have to be at the another Pro Tools|HD audio interface using
Word clock rate. At 44.1 kHz and 48 kHz, EXT Loop Sync.
CLOCK IN synchronization will be 1x the cur-
rent session sample rate. However, for sample MST (Loop Master) Indicates which Pro Tools
rates higher than 48 kHz, HD OMNI generates a audio interface is the master Pro Tools periph-
choice of 1x, 2x, or 4x of a base rate of 44.1 kHz eral. The Loop Master LED will be continuously
or 48 kHz, as follows: lit on the current Loop Master peripheral only,
and unlit on all other peripherals. (Only one
Session Sample Rate Word Clock Support Pro Tools audio interface can be Loop Master at
a time.) The Loop Master LED will always be lit
44.1 kHz 44.1 kHz with a single interface.
48 kHz 48 kHz
For Pro Tools|HD systems, Loop Master defaults
88.2 kHz 88.2 kHz to the first Pro Tools audio interface connected
44.1 kHz to the primary, or “core” Pro Tools|HD card.

96 kHz 96 kHz
48 kHz Sample Rate LEDs

176.4 kHz 176.4 kHz These LEDs display the current sample rate of
44.1 kHz the HD OMNI internal crystal oscillator:
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz,
192 kHz 192 kHz
or 192 kHz. The sample rate can be set in
48 kHz
Pro Tools when you create a new session, or in
the Hardware Setup (see “Pro Tools Hardware
The Word Clock base rate can only be set in Setup” on page 23) or Playback Engine dialogs if
the Pro Tools Hardware Setup. no session is open. You can also set the Sample
Rate in SETUP mode if Pro Tools is not running
(see “Internal Sample Rate (SRATE)” on
If the EXT LED flashes on and off,
page 45).
HD OMNI does not have external sync.
Check to make sure that HD OMNI is re-
ceiving synchronization from the correct
clock source.

8 HD OMNI Guide

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 METERS MONITOR Controls
These five-segment LEDs indicate signal level for HD OMNI provides onboard monitoring from
either the input or output channels 1–8. These mono up to 7.1 surround. Use the front panel
meters are calibrated at –42 dB, –18 dB, –12 dB, MONITOR controls to select the monitoring
–6 dB, and 0 dB, respectively. The 0 dB LED seg- path and adjust monitoring levels. You can con-
ment lights red if clipping occurs at the Input or figure the following monitoring options:
Output depending on whether IN or OUT is se- • Control Room Outputs (MAIN and ALT as
lected. configured in Pro Tools)
• MUTE, ALT, and CUE to Headphones
• Headphone Output
• SETUP

Input/Output Meters

The front panel METERS only display the

eight analog/digital Input or Output chan-
nels assigned in the Pro Tools Hardware Monitor controls and Headphone jack
Setup. Unassigned channels are not dis-
played on the front panel METERS. The For more information on configuring moni-
output METERS only show signal level from toring with HD OMNI in Pro Tools, see
Pro Tools output channels. They do not dis- “Monitor” on page 26.
play signal levels for direct monitoring.
SETUP Enables (or exits) Setup mode. The
IN/OUT Button Toggles whether the Meters SETUP button LED is lit when in Setup mode
show the signal levels for either the Input or the (for more information about Setup mode, see
Output channels. Chapter 5, “SETUP Mode”).

IN LED Indicates that the Meters are showing the CUE Enables (or disables) a dedicated stereo Cue
the signal levels for the Input channels assigned mix from Pro Tools that is sent to the head-
in the Pro Tools Hardware Setup. phones. The CUE button LED lights when en-
abled. When CUE is disabled, the headphones
OUT LED Indicates that the Meters are showing monitor the same mix as the Control Room out-
the signal levels for the Output channels as- puts (see also “CUE 1–2” on page 39).
signed in the Pro Tools Hardware Setup.

A signal that meters at 0 on the HD OMNI

will not necessarily clip; use the on-screen
meters in Pro Tools to determine whether a
signal is clipping.

Chapter 2: HD OMNI Overview 9

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 ALT Toggles the Control Room output paths be- HEADPHONE Jack
tween MAIN and ALT. The LED is lit when the
Control Room output is assigned to ALT, and it HD OMNI provides a single stereo 1/4-inch
is off when the Control Room output is assigned headphone jack on the front panel. The output
to MAIN. You can also press and hold the ALT to the headphone jack can either mirror the ste-
button to engage ALT Trim mode (see “Analog reo channels of the selected Control Room mon-
Output Trim (OUTRIM)” on page 42). itoring path or the dedicated CUE 1–2 output
from Pro Tools (see “CUE 1–2” on page 39).
MUTE Mutes (or unmutes) the MAIN or ALT
Control Room outputs only, whichever is ac- Use the MONITOR Encoder to control the Head-
tive. The LED lights when MUTE is enabled. phone level (see“MONITOR Controls” on
page 9).
When power cycling HD OMNI, MUTE is
The HD OMNI Headphone output also lets you
temporarily engaged automatically to pro-
monitor greater than stereo format sessions, in
tect the monitor outputs for the Control
two different ways: passing the Left and Right
Room monitor paths declared in Pro Tools.
channels only, or folding down from the
greater-than-stereo format to stereo. For exam-
The MUTE button does not affect the Head- ple, with a 5.1 monitor format, if fold down is
phone output. not enabled, only the Left and Right channels
will be heard in the headphones. However, with
MONITOR Encoder Lets you select and adjust the
fold down enabled, all channels will be folded
output levels for the MAIN, ALT, and head-
down to stereo for headphone monitoring.
phone outputs. You can also use the Monitor
encoder to enter Trim values in ALT Trim mode You can configure multichannel monitoring
and to navigate Setup mode. Press the encoder and enable (or disable) fold down or headphone
to switch between Control Room (CR) and monitoring in the Pro Tools Hardware Setup di-
Headphone mode (HP). alog (for more information, see “Monitor” on
page 26).
In Setup mode, press the encoder to select and
confirm settings. For more information on The HD OMNI Headphone output is set to
Setup mode, see Chapter 5, “SETUP Mode.” power 600 Ohm headphones at +3 dBV.

MONITOR Display Shows which output level is

being controlled and the value for that parame-
ter:
• “CR” = Control Room level (either MAIN or
ALT)
• “HP” = Headphone level

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 HD OMNI Back Panel
The HD OMNI has the following back panel features:

HD OMNI Back Panel

Analog Inputs SEND and RTN 1 and 2

HD OMNI provides up to four channels of si- HD OMNI provides two discrete hardware sends
multaneous analog inputs to Pro Tools using and returns. The selected inputs (MIC, LINE, or
24-bit A/D converters that support sample rates INST) on Channels 1 and 2 can be routed
up to 192 kHz. Channels 1 and 2 can be from through the hardware sends and returns avail-
the front panel inputs (XLR microphone or able on the back panel. This lets you use your fa-
1/4-inch TRS Instrument), from the back panel vorite outboard gear (such as compressors or
MICROPHONE (XLR) 1 and 2 Inputs, or from EQs) at the signal input stage, after the pad, pre-
the back panel LINE IN (1/4-inch TRS) 1 and 2 amp, and high-pass filter, but before the Soft
Inputs. Channels 3 and 4 are always from the Clip or Curv limiter circuits and the analog-to-
back panel LINE IN 3 and 4 Inputs. digital converter.

Send and Return 1 inserts on Channel 1 and

Send and Return 2 inserts on Channel 2. Select
(or deselect) INSERT on the front panel to en-
able (or disable) the hardware inserts. Note that
the sends are always active.

Back panel analog inputs

LINE IN 1–4
MICROPHONE 1 and 2 Inputs HD OMNI provides four line level 1/4-inch TRS
HD OMNI provides two microphone inputs inputs. LINE IN 1 and 2 can only be used for in-
(XLR) on the back panel. These two inputs are put when the Input Type is set to LINE on the
routed through the preamps, which can be con- front panel.
trolled from the front panel.

MICROPHONE 1 and 2 can be used for input

when the Input Type is set to MIC on the front
panel. If the Input Type is set to MIC on the
front panel, and a microphone connection is
made on the front panel Channel 1 or 2 inputs,
the corresponding back panel input is bypassed.

Chapter 2: HD OMNI Overview 11

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 Analog Outputs Digital Inputs and Outputs

Back panel analog TRS outputs, and analog and digital Back panel digital inputs and outputs
(AES/EBU) DB-25 outputs
AES EBU OUT 1–8
TRS OUT 1 and 2
HD OMNI provides one DB–25 connector for
HD OMNI provides two 1/4-inch TRS Outputs eight channels of AES/EBU output. Each of the
for monitoring either ANALOG OUT 1 and 2 or paired channels is a balanced three-conductor
ANALOG OUT 7 and 8 (or neither). This can be signal, and supports 192 kHz sample rates in
set in Pro Tools on the Analog Out tab of the Single Wire mode.
Hardware Setup dialog (see “Analog Out” on
page 26) or on HD OMNI in SETUP mode (see For a pinout diagram for the AES/EBU DB-
“TRS Output Mirrors (TRSOUT)” on page 43) 25 connector, see Appendix A, “Pinout Dia-
grams for the DB-25 Connectors.”
ANALOG OUT 1–8
AES/EBU INPUT
HD OMNI provides a DB-25 connector for eight
channels of analog audio output. These bal- HD OMNI provides a single stereo AES/EBU
anced outputs operate at +10 dBu (Speaker level) (XLR) input. The AES/EBU Input supports sam-
or at +24 dBu (Line level). You can set the out- ple rates up to 192 kHz using AES Single Wire.
put level in Pro Tools on the Analog Out page of
the Hardware Setup dialog (see “Analog Out” on S/PDIF IN and OUT (Coaxial)
page 26).
HD OMNI provides RCA jacks for stereo S/PDIF
For a pinout diagram for the analog DB-25 digital data stream input and output. S/PDIF
connector, see Appendix A, “Pinout Dia- supports up to 24-bit audio, at sample rates up
grams for the DB-25 Connectors.” to 192 kHz.

To maintain data integrity and minimize

jitter, use only 75-ohm coaxial cable for
S/PDIF connections.

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 OPTICAL IN and OUT (1 and 2) and 192kHz, but sample rate conversion (SRC) is
automatically enabled for this feature. The Opti-
HD OMNI provides two sets of eight-channel cal (S/PDIF) option can be selected in the
Optical (TOSLINK) input and output. The Opti- Pro Tools Hardware Setup dialog.
cal I/O on HD OMNI supports up to 24-bit au-
dio, at sample rates up to 192 kHz. The number About Lightpipe-Compatible Devices
of available Optical input and output channels
varies with sample rate as described below: Lightpipe is an industry standard, eight-channel
optical digital audio connection created by Ale-
ADAT Optical sis. Lightpipe is found on many devices, includ-
ing Optical (ADAT) decks, modular digital mul-
At sample rates of 44.1 kHz and 48 kHz, Optical titracks (MDMs), sound cards, A/D or D/A
Port A provides eight channels of audio input converters, and digital mixing consoles.
and output. Optical Port B is unused for input,
but on output it mirrors Optical Port A (chan-
nels 1–8). DigiLink Mini Ports

S/MUX 2 PRIMARY PORT

At sample rates of 88.2 kHz and 96 kHz (S/MUX Use the PRIMARY PORT to connect HD OMNI to
2), each Optical port provides four channels of your Pro Tools|HD system using a DigiLink Mini
audio. Optical In and Out 1 send and receive to DigiLink adapter cable (included).
channels 1–4, and Optical In and Out 2 send
The PRIMARY PORT can send and receive up to
and receive channels 5–8.
32 channels to and from a Pro Tools|HD card.
S/MUX 4 Channels 17–32 (if active) are passed through to
the EXPANSION PORT. However, note that HD
At sample rates of 176.4 kHz and 192 kHz OMNI only provides up to eight channels of in-
(S/MUX 4), each Optical port provides two put and output.
channels of audio. Optical In and Out 1 send
and receive channels 1 and 2, and Optical In When using HD OMNI in a system with multi-
and Out 2 send and receive channels 3 and 4. ple interfaces, it will provide eight channels of
input and output on Pro Tools channels 1–8 or
When using S/MUX, only the first optical 17–24 depending on whether or not HD OMNI
port can be used to synchronize to external is connected directly to a Pro Tools|HD card, or
clock. whether it is connected to the Expansion port of
another Pro Tools|HD peripheral (such as an
Optical (S/PDIF) HD I/O).
Either set of Optical I/O ports can also be used
for two-channel Optical S/PDIF input and out-
put with support for sample rates up to 96 kHz.
HD OMNI can receive two channels of Optical
S/PDIF when operating at sample rates of 176.4

Chapter 2: HD OMNI Overview 13

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 DigiLink Mini Cable Length Specifications EXPANSION PORT
There are six different lengths of DigiLink Mini The EXPANSION PORT lets you connect an ad-
cables: ditional Pro Tools|HD audio interface to
• 18” (0.46m), included with each interface HD OMNI. The EXPANSION PORT passes chan-
• 12’ (3.6m) nels 17–32 to and from the expansion (or sec-
ondary) audio interface.
• 25’ (7.62m)
• 50’ (15.25m), the maximum length sup- This port is only available when HD OMNI is
ported for 192 kHz sessions (sold sepa- connected to a Pro Tools|HD card (it is not avail-
rately) able when the HD OMNI is connected to the EX-
• 100’ (30.5m), the maximum length sup- PANSION PORT on another audio interface).
ported for 96 kHz sessions (sold separately)
Pro Tools only supports a single HD OMNI
• 200’ (61m), the maximum length sup-
per system. Any additional HD OMNI pe-
ported for 48 kHz sessions (sold separately)
ripheral connected to your Pro Tools system
will not be recognized.
DigiLink to DigiLink Mini Adapter Cables

Use DigiLink to DigiLink Mini adapter cables to

connect HD OMNI to Pro Tools|HD cards. You
can also use DigiLink to DigiLink Mini adapter
cables to connect older HD peripherals (such as
192 I/O) to the EXPANSION PORT of HD OMNI.

There are two types of DigiLink to DigiLink Mini

adapter cables:
• 12” (0.3 m) DigiLink female to DigiLink
Mini male, included with each interface
• 12” (0.3 m) DigiLink Mini female to Digi-
Link male

For more information about DigiLink Mini

and DigiLink Mini to DigiLink cables, visit
the Avid website (www.avid.com).

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 Clock and Synchronization Ports LOOP SYNC In and Out
Loop Sync is a dedicated clock loop for synchro-
nizing multiple Pro Tools|HD peripherals
together (multiple audio interfaces, and/or a
SYNC HD™ or SYNC I/O™ and one or more au-
dio interfaces). Loop Sync uses a word clock sig-
nal based on sample rates of either 44.1 kHz or
48 kHz. As sample rate increases in the system,
Back panel Word Clock and Loop Sync In and Out Loop Sync continues to operate at a base rate of
44.1 kHz or 48 kHz, depending upon the higher
WD CLK IN and OUT rate.
The Word Clock I/O ports are standard BNC
The Loop Sync In and Out ports are standard
connectors that receive and output word clock
BNC connectors that output a 1x Word clock
signal. These ports can be used to synchronize
signal. Loop Sync should only be used to chain
HD OMNI with any word clock-capable device.
multiple Pro Tools|HD peripherals together (au-
Word Clock In can be selected as the Clock dio interfaces and SYNC HD or SYNC I/O).
Source from the front panel or in the Hardware
Setup dialog in Pro Tools. Word Clock Out can AC Power
be configured in the Hardware Setup dialog us-
ing the External Clock Output selector. This connector accepts a standard AC power ca-
ble (included). HD OMNI is auto power-select-
Because crucial timing data is passed ing (100V to 240V) and will automatically work
through the Loop Sync and Word Clock ports, with a standard modular cable (IEC) to connect
you should use high-quality, 75-ohm RG–59 to AC power outlets in any country.
cables for making connections.

Chapter 2: HD OMNI Overview 15

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 16 HD OMNI Guide

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 chapter 3

Connecting HD OMNI

To connect HD OMNI to a Pro Tools|HD system, do

Pro Tools|HD Systems one of the following:

HD OMNI provides up to eight channels of ana- „ Connect HD OMNI Primary Port to the Digi-

log and digital I/O with Pro Tools when con- Link Port on the Pro Tools|HD Accel Core card
nected to a Pro Tools|HD card using a DigiLink with a DigiLink Mini to DigiLink cable (in-
Mini to DigiLink cable adapter or when con- cluded with your Pro Tools|HD system).
nected to the expansion port of another – or –
Pro Tools|HD audio interface (such as HD I/O).
„ Connect HD OMNI Primary Port to the Ex-
You can add additional Pro Tools|HD audio in- pansion port on a primary Pro Tools|HD audio
terfaces to your Pro Tools|HD system using the interface with a DigiLink Mini cable (HD I/O)
Expansion port on the back of HD OMNI or us- or DigiLink Mini to DigiLink cable (192 I/O,
ing additional Pro Tools|HD cards. However, 192 Digital I/O, or 96 I/O).
Pro Tools supports only one HD OMNI in a sin-
gle Pro Tools|HD system. Pro Tools|HD audio interfaces need room at
their sides to maintain proper air flow for
For more information about installing cooling. Do not block the sides of the unit or
Pro Tools|HD cards, see the Pro Tools|HD disconnect the internal fan. If the units are
User Guide. rack-mounted in a case, remove the case
lids or doors before operating the system.
Failure to do so can result in the units over-
heating very quickly, which can perma-
nently damage sensitive components.

If the fan stalls or fails on HD OMNI, the

Monitor LCD displays “FANerr,” and the
Monitor LCD backlighting turns red. If this
happens, try power cycling HD OMNI to re-
start the fan. For more information, see
“Fan Failure Mode” on page 49.

Chapter 3: Connecting HD OMNI 17

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 Pro Tools|HD Accel Core card

12-foot DigiLink Mini

to DigiLink cable, or a
12-foot DigiLink cable
with a DigiLink to
DigiLink Mini adapter

Figure 1. HD OMNI connected to the DigiLink Port on a Pro Tools|HD Core card (8-channel system)

To connect additional Pro Tools|HD Audio 3 Connect additional HD audio interfaces to ad-
Interfaces to a Pro Tools|HD system: ditional Pro Tools|HD Accel cards.
1 Connect the Primary Port of the first HD au- 4 Make the necessary Loop Sync connections.
dio interface to the DigiLink Port on the
Pro Tools|HD Core card with a DigiLink Mini to Pro Tools HD supports only one HD OMNI
DigiLink cable (included with your per system.
Pro Tools|HD system).

2 Do one of the following:

• Connect the Primary Port of the second HD
audio interface to the Expansion Port on
the first HD audio interface with the in-
cluded 18-inch DigiLink Mini cable.
– or –
• Connect the Primary Port of the second HD
audio interface to a Pro Tools|HD Accel
card with a DigiLink Mini to DigiLink cable
(included with your Pro Tools|HD system).

18 HD OMNI Guide

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 Connecting Loop Sync To make Loop Sync connections:

If you are using two (or more) Pro Tools audio 1 Connect (daisy-chain) the Loop Sync Out of

interfaces or a SYNC peripheral, Loop Sync must each interface to the Loop Sync In of the next
be connected to maintain proper clock among interface with the BNC cables included with
the devices. For an example of connecting mul- your audio interface.
tiple Pro Tools|HD audio interfaces, see Figure 2 2 Connect the Loop Sync Out of the last inter-
below. face to the Loop Sync In of the primary interface
or SYNC peripheral.

12-foot DigiLink Mini Pro Tools|HD Core card

to DigiLink cable

18-inch DigiLink
Mini cable

Loop Sync cables

Pro Tools|HD Accel card

Figure 2. HD OMNI connected to the DigiLink Port on a Pro Tools|HD Core card and HD I/O connected to the DigiLink
Mini Expansion port on HD OMNI. A second HD I/O is connected to the DigiLink Port on a Pro Tools|HD Accel card
with a third HD I/O connected to the Expansion port on the second HD I/O. Loop Sync (BNC) cables connect the HD
OMNI and all three HD I/Os.

Chapter 3: Connecting HD OMNI 19

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 Example Studio Connections
Figure 3 on page 20 and Figure 4 on page 21 illustrate possible studio setups without a mixer, where
microphones, instruments, hardware inserts, and monitoring equipment are connected directly to
HD OMNI. Note that the line level inputs are only available on the back panel.

HD OMNI provides DB-25 breakout connectors for analog and AES/EBU output. Avid sells several
different DigiSnake DB-25 cables for these purposes. For more information, contact your dealer or
visit the Avid Store online at our website (www.avid.com).

Figure 3. Example studio configuration using HD OMNI, front panel connections shown

20 HD OMNI Guide

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 Optical
in/out
to ADAT

Analog Digital Inputs/Outputs

Output to DAT recorder

Hardware Inserts

Power Amp
and Speakers

Figure 4. Example studio configuration using HD OMNI, back panel connections shown

Chapter 3: Connecting HD OMNI 21

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 22 HD OMNI Guide

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 chapter 4

Configuring HD OMNI in Pro Tools

6 Click the Analog Out tab and configure the op-

Pro Tools Hardware Setup tions (see “Analog Out” on page 26).

The Pro Tools Hardware Setup dialog lets you 7 Click the Mixer tab and configure the options
configure HD OMNI for use with Pro Tools. It (see “Mixer” on page 34).
also lets you configure some of the same settings
8 Continue by configuring any other HD audio
as in Setup mode on HD OMNI (see Chapter 5,
interfaces connected to your system.
“SETUP Mode”). In addition to the standard
Main, Analog In, and Analog Out tabs, the Hard- 9 When you are finished, click OK.
ware Setup dialog provides the Monitor and
Mixer tabs that are unique to HD OMNI. Note
that all HD OMNI specific hardware settings (ex-
Main
cept labels) are stored in HD OMNI itself. The Main page of the Hardware Setup dialog is
where you define which physical inputs and
To configure HD OMNI in Pro Tools: outputs on your audio interface are routed to
1 Choose Setup > Hardware. available inputs and outputs in Pro Tools. You
can think of this window as a patchbay that lets
2 From the Peripherals list, select the HD OMNI you route any of the inputs or outputs on your
audio interface. Pro Tools|HD audio interfaces to channel as-
3 Click the Monitor tab and configure the op- signments in the Pro Tools mixer.
tions (see “Monitor” on page 26).

Because the Monitor configuration affects

the available Output paths, be sure to con-
figure the Monitor page before configuring
the other pages in the Hardware Setup and
the I/O Setup.

4 Click the Main tab and configure the options

(see “Main” on page 23).

5 Click the Analog In tab and configure the op-

Hardware Setup, Main page
tions (see “Analog In” on page 25).

Chapter 4: Configuring HD OMNI in Pro Tools 23

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 Clock Source Selects the appropriate clock Physical outputs (such as “Analog 1–2”) are un-
source for the system. In most cases, you can available when they are assigned to Monitor
simply use Internal. The other options are for re- (but Pro Tools output channels assigned to
solving Pro Tools to external clock sources. “Monitor” sound through the corresponding
physical outputs).
Depending on the selected Digital 1–2 Input
Format, Clock Source options include: Internal, Physical outputs not assigned to Monitor
AES/EBU, S/PDIF, Optical (S/PDIF), ADAT 1–8 (at output paths in Main tab of the Hardware
44.1 kHz and 48 kHz), ADAT S/MUX 1–8 (at Setup can cause speaker damage if you are
88.2 kHz and 96 kHz), ADAT S/MUX 1–4 (at not careful. Note that the front panel Mute
176.4 kHz and 192 kHz), and Word Clock (multi- button and the Monitor encoder (used for
ple Word Clock rates are available when operat- adjusting the Control Room monitoring
ing at higher sample rates). path levels) only apply to assigned monitor
paths, they do not have any effect on other
Sample Rate Determines the default sample rate
outputs.
when you create a new session. This setting is
available only when there is no session open. Digital 1–2 Input Format Selects the digital input
Otherwise, the current session sample rate is dis- format for channels 1 and 2:
played, but cannot be changed. • AES/EBU
Input Selects the physical inputs (such as Analog • S/PDIF
1–2 or ADAT 1–2), that will be routed to the cor- • Optical (S/PDIF)—resets the Optical I/O
responding Pro Tools input channels (such as port (which is, by default, eight channels of
Ch 1–2 or Ch 3–4), listed on the left side of the ADAT I/O) to two channels of
Main page. S/PDIF Optical I/O

Output Selects the physical outputs (such as An- Optical Output Format Selects the digital output
alog 1–2, Analog 3–4, AES/EBU 1–2, and so on), format for the Optical output:
used for the corresponding Pro Tools output • ADAT—Provides eight channels of ADAT
channels (listed on the left side of the Main optical output at 44.1 and 48 kHz.
page). • ADAT S/MUX—Provides eight channels of
ADAT S/MUX optical output at 88.2 and
The available Output options update to reflect
96 kHz, and four channels of ADAT S/MUX
the configuration of the Monitor page of the
optical output at 176.4 and 192 kHz.
Hardware Setup (see “Monitor” on page 26).
• Optical (S/PDIF)—Provides two channels of
Mono and stereo Monitor paths are always auto- S/PDIF optical output at sample rates up to
matically assigned to the first Output selector 96 kHz.
(Pro Tools channel outputs 1–2) and cannot be
changed. Larger Monitor path formats similarly
use subsequent Outputs as needed (depending
on the channel width of the Monitor path).

24 HD OMNI Guide

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 Sample Rate Conversion Enables (or disables) Analog In
real-time sample rate conversion for the selected
Digital 1–2 Input Format. When enabled, if the The Analog In page of the Hardware Setup dia-
sample rate of the digital input source differs log lets you set the Reference Level for the phys-
from the Pro Tools session sample rate, HD ical analog inputs on HD OMNI. You can also
OMNI converts the incoming sample rate to the apply a limiter to each of the four analog inputs.
session sample rate in real time.

If the session sample rate is higher than

96 kHz and Digital 1–2 Input Format is set
to Optical (S/PDIF), the Sample Rate Conver-
sion option is automatically enabled (since
Optical S/PDIF only supports sample rates
up to 96 kHz).

Sample rate conversion increases latency by a

Hardware Setup, Analog In page
variable amount depending on the difference
between sample rates. Reference Level

S/PDIF Output Format For S/PDIF compatibility Select the appropriate Reference Level for each of
with Tascam DA-30 DAT recorders, select the the four analog input channels. Input operating
Tascam option under S/PDIF Output Format. levels are switchable between +4 dBu and
–10 dBV operation.
Ext. Clock Output Selects the appropriate output
from the Ext. Clock Output pop-up menu to send Limiter
clock output to other devices attached to HD
HD OMNI provides options for limiting on each
OMNI. The available Ext. Clock Output options
of the four input channels. Select an option
vary depending on the sample rate.
from the corresponding Limiter pop-up menu:

None Applies no limiting to the incoming ana-

log signal.

Soft Clip Attenuates the incoming analog signal,

providing extra protection from temporary clip-
ping transients that can cause digital distortion
when they exceed the maximum input of the
unit. With Soft Clip enabled, HD OMNI sup-
ports an additional 4 dB of headroom by round-
ing off the top 4 dB to the clip point. This is use-
ful for eliminating stray transients or for
emulating analog tape saturation.

Chapter 4: Configuring HD OMNI in Pro Tools 25

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 Curv Attenuates the incoming analog signal us- TRS Mirrors
ing a soft knee limiter circuit. This guarantees
The TRS OUT 1 and 2 jacks on the back panel of
super soft limiting without becoming hard, even
HD OMNI can mirror the analog signal output
with large overloads on input.
of channels 1–2 or 7–8. Select the appropriate
option depending on your monitoring configu-
Analog Out ration:

The Analog Out page of the Hardware Setup di- Analog 1–2 Select this option if you want to
alog lets you set the Output Level for the physi- monitor analog output channels 1–2 though
cal analog outputs on HD OMNI. You can also TRS OUT 1 and 2.
select which channels are mirrored on the back
panel TRS Outputs. Analog 7–8 Select this option if you want to
monitor analog output channels 7–8 through
TRS OUT 1 and 2.

None Select this option if you do not intend to

use TRS OUT 1 and 2 for monitoring.

Monitor
The Monitor page of the Hardware Setup dialog
is a virtual patchbay where you can define
Hardware Setup, Analog Out page which physical outputs are used for the MAIN
and ALT monitoring paths. You can assign ded-
Output Level icated monitoring paths to any of the available
Select the appropriate Output Level for each of Analog 1–8, AES/EBU 1–8, or stereo digital out-
the eight analog output channels. HD OMNI puts.
provides two options for output levels:

Speaker (+10 dBu) Select this option for output

channels connected directly to powered moni-
tors.

Line (+24 dBu) Select this option for output

channels connected to line-level devices (such
as an analog mixing console).

Hardware Setup, Monitor page

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 Changes to the Monitor page are reflected in the To assign the MAIN and ALT Control Room paths:
Output options on the Main page in the Hard-
1 In Pro Tools, open the Hardware Setup dialog
ware Setup dialog, the Output and Bus pages of
(Setup > Hardware Setup) and select the Monitor
the I/O Setup dialog, and in the Output path
tab.
names for tracks in your Pro Tools session. Be-
cause of this, you should always configure the 2 Select the channel format from the Format se-
Monitor page first, before configuring the other lector for the Control Room Path you want to
pages of the Hardware Setup and the I/O Setup. create.

3 Place the mouse cursor over the Channel Ma-

With HD OMNI, Delay Compensation is
trix (the cursor appears as a pencil), and click to
not supported on assigned Monitor outputs.
assign Control Room Path monitoring channels
Delay Compensation is only supported on
to physical output channels on HD OMNI.
physical outputs not assigned to a Monitor
These appear as Output channels for Pro Tools
path.
tracks.
MAIN and ALT Control Room Paths
HD OMNI provides two possible Control Room
monitoring paths (CR Path): MAIN and ALT.
Each of these monitoring paths can be set to
None (not used), or to channel formats ranging
from Mono to 7.1. Assigning Control Room Path monitoring channels to
HD OMNI physical outputs
When configuring MAIN and ALT Control
Room monitoring paths, the path with the wid- 4 If desired, select the Fold Down channel for-
est channel format determines the channel for- mat from the Fold Down selector.
mat of the “Monitor” Output path that appears 5 Enable or disable the Fold Down options (see
both in the Output page of the I/O Setup and in “Fold Down Options” on page 32).
the Main page of the Hardware Setup. All Out-
put paths used by the Control Room monitoring 6 Click OK to save your changes and close the
path (MAIN and ALT) are otherwise unavailable. Hardware Setup dialog.

From Pro Tools, track outputs that are routed to The Monitor settings are saved on HD OMNI
“Monitor” will play out either the MAIN Con- and apply regardless of whether or not Pro Tools
trol Room path or the ALT Control Room path is running.
depending on the state of the ALT button on the
front panel of HD OMNI. The MAIN Control To reassign the MAIN and ALT Control Room
Room path is used for monitoring when the ALT paths:
button is disengaged on the front panel of HD „ Click the current Control Room Path moni-

OMNI (the LED is not lit). The ALT Control toring channel on the cross-point matrix and
Room Path is used for monitoring when the ALT drag it to the new location for the physical out-
button is engaged on the front panel of HD put channel assignment you want.
OMNI (the LED is lit).

Chapter 4: Configuring HD OMNI in Pro Tools 27

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 Monitor Path Assignments Reserve Stereo Similarly, in the Output page of the I/O Setup
Physical Output Pairs (see 3. below), “Monitor 1–2” is automatically
selected for the first Output. Analog 1–2 and An-
Regardless of the Monitor Format (channel
alog 5–6 appear in subsequent Output selectors
width), the Monitor path always reserves stereo
as “Analog 1–2 (Monitor)” and “Analog 5–6
pairs of physical outputs even if the Monitor
(Monitor)” and are greyed out and unavailable
path is not using both channels of a given stereo
since the are reserved for the Monitor path
pair. Additionally, the Monitor path is always la-
beled in consecutive pairs starting with 1–2 re-
gardless of which physical outputs the different 1.
Monitor channels are assigned to.

For example, if you assign a stereo Monitor path

2.
to Analog (DB25) outputs 1 and 5 (see 1. below),
the physical outputs Analog 1–2 and 5–6 are re-
served for the Monitor path, even though Out-
put channels 2 and 6 are not being used.

Additionally, in the Main page of the Hardware

Setup, “Monitor 1–2” is automatically selected
for the first Output. Analog 1–2 and Analog 5–6
appear in subsequent Output selectors as “Ana-
log 1–2 (Monitor)” and “Analog 5–6 (Monitor)” 3.
and are greyed out and unavailable since the are
reserved for the Monitor path (see 2. below).

Stereo Monitor path assigned to Analog 1 and 5 as

it appears in the Hardware Setup (1 & 2) and in the
I/O Setup (3)

28 HD OMNI Guide

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 CR Path Channel Matrix

Analog (DB-25) AES/EBU (DB-25) Digital Stereo

physical outputs physical outputs physical outputs

MAIN channel ALT channel

assignments assignments
(5.1 monitor shown) (2.1 monitor with shared LFE shown)

Figure 5. CR Path MAIN and ALT channel assignments

CR Path A Note About Odd Number Formats

The Control Room Path (CR Path) channel ma- Since the Output channels for HD OMNI are in
trix provides monitoring channel assignment stereo pairs, any time you assign an odd num-
rows for the MAIN and ALT CR Path. bered Format (such as mono, LCR, or 5.0), all
stereo pairs carrying those channel assignments
Format are used for the Monitor path and are unavail-
able as direct physical outputs in both the Hard-
The MAIN and ALT CR Path Format selectors let
ware Setup and I/O Setup. For example, if you
you select from the following channel formats:
assign an LCR Monitoring path to Output chan-
• None (the monitoring path is disabled) nels 1–2 and 3 in the Monitor page of the Hard-
• Mono ware Setup (see 1. below), channel 4 also be-
• Stereo comes unavailable in the Main page of the
• 2.1 (stereo plus an Lf channel) Hardware Setup and in the Output page of the
• LCR I/O Setup (see 2. below).

• LCRS
• Quad 1.

• 5.0
• 5.1
2.
• 6.0
• 6.1
• 7.0
• 7.1

LCR Monitor path in Hardware Setup and I/O Setup

Chapter 4: Configuring HD OMNI in Pro Tools 29

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 A Note About the 2.1 Format Fold Down

When using the 2.1 monitoring format, The MAIN and ALT monitoring path Fold Down
Pro Tools sends only two output channels (ste- selectors let you select any channel format that
reo) to HD OMNI. The LFE channel, or .1 chan- is narrower than the channel format selected for
nel, is synthesized on the HD OMNI rather than the corresponding CR Path. For example, if the
being a separate Lf channel from Pro Tools. MAIN CR Path Format is set to 5.1, it can fold
Consequently, when using a 2.1 monitoring for- down to 5.0 or lower channel formats. When
mat, one stereo pair of Output channels will be folding down, all channels of the source are au-
used for the Monitor path, and an additional tomatically, intelligently mixed down to the
stereo pair will be greyed out and unavailable as lower channel format so that all source channels
it is reserved for the Lf channel on HD OMNI. are heard on the monitoring path.
This is also reflected in the Output page of the
I/O Setup. When Fold Down is engaged for a CR Path, the
CR Path Format is “folded down” to the selected
For example, if the 2.1 format is assigned to An- Fold Down channel format. When Fold Down is
alog output channels 1–3 in the Monitor Page of not engaged for a CR Path, monitoring is main-
the Hardware Setup (see 1. below), in the Main tained at the selected Format (channel format).
Page of the Hardware Setup (see 2. below) and in When any Fold Down is set for a CR Path, the
the Output page of the I/O Setup (see 3. below), option to engage Fold Down for that CR Path
Analog 1–2 are assigned to “Monitor” and Ana- becomes available. For more information, see
log 3–4 are made inactive since channel 3 is re- “Fold Down Options” on page 32.
served for the Lf channel.
Folding down loud mixes can cause clipping
in certain circumstances. HD OMNI fold
1.
down algorithms follow common industry
standards, such as summing to mono from
larger formats. If you encounter clipping on
fold down, you may want to reduce the
2.
overall gain of your mix.

3.

2.1 Monitor path in Hardware Setup and I/O Setup

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 CR Path Channel Assignments to Physical
Outputs

The CR Path channel assignments are created

and edited just like in the Pro Tools I/O Setup
(for more information about I/O Setup, see the
Pro Tools Reference Guide).

The number of CR Path channels depends on

the selected Format (channel format). For exam-
ple, when the CR Path format is set to 5.1, the
CR Path consists of 6 channels: L (front left), C
(center), R (front right), Ls (left surround), Rs
(right surround), and LFE (Low Frequency Ef-
fects). A 5.1 CR Path can be assigned to any 6
available physical outputs. In Figure 5 on
page 29, the MAIN CR Path is 5.1 and each
channel is assigned to the physical outputs of
Analog (DB-25) channels 1–6.

Uneven channel formats make the next even

numbered channel unavailable. This is because
output channel paths are always paired. For ex-
ample, LCR occupies output channels 1–2 and
3–4 (with 4 unavailable), and 5.0 occupies out-
put channels 1–2, 3–4, and 5–6 (with 6 unavail-
LCR monitoring determines the available Hardware
able). Setup Output assignments, and I/O Setup Output
path assignments
Once CR Path channels are assigned to physical
outputs, the “Monitor” path is displayed in the
At sample rates higher than 96 kHz, the
Output selectors on the Main page of the Hard-
Optical S/PDIF Digital output is grayed out
ware Setup and in the I/O Setup. The individual
and unavailable as a monitoring path in
physical outputs used by the MAIN and ALT
the Hardware Setup.
Control Room monitor assignments are itali-
cized in the I/O Setup, indicating they are in use Note that any signal routed to the “Monitor”
and unavailable for other output assignments. path from Pro Tools tracks plays out the corre-
sponding assigned physical output according to
the MAIN and ALT assignments.

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 Monitor Output Level Selector Type 3 Fold down options for headphone moni-
toring.
In addition to being able to set the Output Level
for physical output in the Analog Out page, you Fold down is a special type of submix from a
can also set Output Levels without leaving the multichannel source that keeps all channels au-
Monitor page. dible with a monitoring path format of fewer
channels. For example, when folding down
To set the Output Level for a physical output from 5.1 to stereo, the Front Left and Surround
channel in the Monitor page: Left channels fold down to the Left stereo chan-
„ Click the output channel number at the top of nel, the Front Right and Surround Right chan-
the CR Path Channel Matrix and select the Out- nels fold down to the Right stereo channel, and
put Level: the Center channel and the LFE channel are
panned center between the Left and Right stereo
• Speaker (+10dBu)
channels. Note that some of the source channels
– or – will be automatically attenuated to balance cor-
• Line (+24dBu) rectly in the folded down mix.

Option-click (Mac) or Alt-click (Windows) When not folding down from a multichannel
to set the Output Level for all channels. format to a format of fewer channels, any chan-
nels from the source that do not directly match
the channels available in the monitoring path
are not heard. For example, with a MAIN 5.1
Control Room path routed to a stereo ALT mon-
itoring path without folding down, only the
Front Left and Right channels from the source
are heard, while the Surround Left and Right,
and LFE channels are not heard.
Selecting the Output Level for channel 3 of the Analog
(DB-25) output in the Monitor page HD OMNI provides several Fold Down options
depending on the CR Path Format and Fold Down
Fold Down Options settings.
HD OMNI provides intelligent fold down options
for the MAIN and ALT Control Room, and head-
phone monitoring paths.

HD OMNI provides three types of fold down op-

tions:

Type 1 Fold down between formats of the same

monitor path. For example, fold down the
Monitor Fold Down options
MAIN format to the specified Fold-Down format
on the same monitor path.

Type 2 Fold down between the MAIN and ALT

Control Room paths.

32 HD OMNI Guide

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 Engage Fold-Down for Main Do Not Fold Down Between CR Paths Select this
option to disable fold down between the MAIN
Enable the Engage Fold-Down for Main option
and ALT CR Paths.
(Type 1) to automatically fold down the MAIN
CR Path from the selected Format (such as 5.1) to For example, if the MAIN Control Room moni-
the selected Fold Down setting (such as Stereo). tor path is set to 5.1 and the ALT Control Room
monitor path is set to Stereo, only the front Left
Engage Fold-Down for MAIN can also be and Right channels of the 5.1 source are heard
enabled from the front panel in SETUP in the ALT Stereo monitor output path and the
mode (see Chapter 5, “SETUP Mode”). other source channels are not.

Engage Fold-Down for ALT

Headphone Fold Down
Enable the Engage Fold-Down for ALT option
The Headphone Fold-Down setting (Type 3) deter-
(Type 1) to automatically fold down the ALT CR
mines how the CR Path channels are folded
Path from the selected Format (such as Stereo) to
down to stereo for headphone monitoring.
the selected Fold Down setting (such as Mono).
Fold Down If Control Room Is Larger Than
Engage Fold-Down for ALT can also be en- Stereo Select this option to fold down any
abled from the front panel in SETUP mode greater-than-stereo CR Path to stereo for head-
(see Chapter 5, “SETUP Mode”). phone monitoring.

Control Room Fold-Down For example, if the MAIN CR Path Format is set
The Control Room Fold-Down setting (Type 2) de- to 5.1, those channels fold down to stereo for
termines whether or not to fold-down between headphone monitoring.
the MAIN and ALT CR Paths. Fold Down Without LFE (If Present) Select this
For example, if the MAIN CR Path Format is set option to fold down any greater-than-stereo CR
to 5.1 and ALT is set to Stereo, and the Control Path to stereo for headphone monitoring, but
Room Fold-Down setting is set to Fold-Down Be- not passing the LFE channel if present (such as
tween CR Paths, enabling ALT on the front panel with 5.1).
of HD OMNI folds down the 5.1 MAIN CR Path Do Not Fold Down (L/R Channels Only) Select
to the Stereo ALT CR Path. this option to not fold down from a greater-
Fold Down Between CR Paths Select this option than-stereo CR Path and only pass the Left and
to fold-down from the CR Path with the larger Right channels for headphone monitoring. All
Format setting (channel format) to the CR Path other channels are not heard on the headphone
with the smaller Format setting, whether from monitoring path.
MAIN to ALT or from ALT to MAIN.

For example, if MAIN is 5.1 and ALT is Stereo,

MAIN will fold down to ALT. However, if MAIN
is Mono and ALT is Stereo, ALT will fold down to
MAIN.

Chapter 4: Configuring HD OMNI in Pro Tools 33

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 Mixer Mixer Channel Strips
The Mixer page of the Hardware Setup dialog The Mixer channel strips are grouped in pairs of
lets you configure HD OMNI to mix the signals physical outputs: Analog 1–2, Analog 3–4,
coming from HD OMNI physical inputs to the AES/EBU, ADAT 1–2, and so on. Each channel
current active Monitor paths (direct monitor- strip provides the same controls.
ing). This way you monitor any incoming signal
whether or not it is routed through the Input Name
Pro Tools mixer. Pan control
Volume control
For example, you can configure the Mixer so
that you can listen to a connected CD player
through your studio monitors, without having
Mute buttons
to route it through a Pro Tools session. Link button
Monitor Assign
Headphone Assign
Label

Hardware Setup, Mixer channel strip for Analog 1–2

Input Name Identifies the physical inputs. Any

physical Inputs that are assigned to Input chan-
nels 1–8 on the Main page of the Hardware
Setup appear bold. Inactive channels appear in
italics.
Hardware Setup, Mixer tab Pan Control Pans the mono input signal in the
stereo monitoring field. When the Monitor Path
When you configure the Mixer settings in Channel format is greater-than-stereo (such as
the Hardware Setup, the Mixer settings are 5.1), the incoming signal is only panned be-
stored on HD OMNI. This lets you use HD tween the Left and Right channels of the Moni-
OMNI as a pre-configured standalone con- tor Path. When the Monitor Path Channel for-
verter when Pro Tools is not running. mat is set to mono, stereo panning is
automatically summed to mono.

Option-click (Mac) or Alt-click (Windows)

the Pan control to set it to the default center
location. For linked stereo input pairs, Com-
mand-Option-Control-click (Mac) or Con-
trol-Alt-Start-click (Windows) to set the
Pan controls hard left and hard right.

34 HD OMNI Guide

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 Volume Control Adjust the volume of the mono Record/Input Monitor Enable
signal sent to any of the selected output assign-
The Record/Input Monitor Enable setting deter-
ments. The volume control only attenuates the
mines whether or not audio monitored through
incoming signal from 0 dB (unity) to –INF.
HD OMNI is muted when record or Input Mon-
Option-click (Mac) or Alt-click (Windows) itor enabling a track in Pro Tools that shares the
the Volume control to set it to the default same physical input source. For example, if you
unity setting. have audio playing through Analog 1–2 using
the HD OMNI Mixer, and you have a stereo
Mute Button Mutes (or unmutes) the input sig- track in Pro Tools that has Analog 1–2 set as the
nal to all selected output assignments. track input, when you record or Input Monitor
enable the track, HD OMNI will either automat-
Link Button Links (or unlinks) the Volume,
ically mute the HD OMNI Mixer inputs or not.
Mute, and output assignments between the pair
of inputs for the channel strip. The Pan control Depending on the recording or monitoring situ-
cannot be linked. ation, you may want to manually mute re-
cord/Input Monitor enabled tracks to monitor
Monitor Assign Selects (or deselects) the Monitor
incoming audio using the HD OMNI Mixer (di-
path as the output assignment. If no Monitor
rect input monitoring channels), or you may
path is configured in the Monitor page of the
want to have Pro Tools automatically mute the
Hardware Setup dialog, the Monitor output as-
HD OMNI Mixer to monitor incoming audio
signment is inactive.
through the Pro Tools mixer (this will inherit
Headphone Assign Selects (or deselects) the any Pro Tools mixer latency).
Headphone output (on the front panel of
Any physical Inputs that are assigned to In-
HD OMNI) as the output assignment.
put channels 1–8 on the Main page of the
Option-click (Mac) or Alt-click (Windows) Hardware Setup appear bold. Inactive
any Mute, Link, Monitor Assign, or Head- channels appear in italics.
phone Assign button to select (or deselect)
Mutes Mixer Input Select this option to automat-
all buttons of the same type.
ically mute the inputs to the HD OMNI Mixer
Label Lets you enter a custom label for the phys- when record or Input Monitor enabling a
ical input. This way you can create a descriptive Pro Tools track that uses the same physical in-
label for the input to identify what is connected put source (such as Analog 1–2). Other physical
to it (such as “Mic 1,” “Guitar,” or “CD”). Note input sources will continue to sound through
that labels are limited to six characters. the HD OMNI Mixer.

Ignore (Manually Manage Mutes) Select this op-

tion to never mute the physical inputs to the HD
OMNI Mixer. You may want to select this op-
tion if you want to record into Pro Tools, but
mute the record track and monitor the physical
input source through the HD OMNI Mixer.

Chapter 4: Configuring HD OMNI in Pro Tools 35

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 Closing the I/O Setup Dialog
Pro Tools I/O Setup
To close the I/O Setup dialog and save changes:
This section describes how to configure input,
output, bus, monitoring, cue, and other signal „ Click OK.
paths for HD OMNI in the Pro Tools I/O Setup.
When you click OK, Pro Tools checks several set-
For more information the I/O Setup dialog, tings for routing validity (to prevent feedback
see the Pro Tools Reference Guide. loops).

Opening the I/O Setup Dialog To close the I/O Setup dialog without saving
changes:
The I/O Setup dialog can be opened from the ap-
plication window (with a session closed), or „ Click Cancel.
from within a session (when a session is open).
Input
To open the I/O Setup dialog:
The Input page of the I/O Setup lets you config-
1 Make sure HD OMNI is configured properly in
ure input signal path names, formats, and
the Hardware Setup dialog (see “Pro Tools Hard- source channel (analog or digital). Multichannel
ware Setup” on page 23). input paths (stereo or greater) can have any
2 Choose Setup > I/O. number of sub-paths. You can have overlapping
Input signal paths. Input names, channel for-
mats, and physical input mappings are saved
with the system.

I/O Setup dialog (Output page with HD OMNI shown)

I/O Setup, Input page

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 To assign HD OMNI physical inputs to Pro Tools The Output page of the I/O Setup displays the
Input paths, do one of the following: MAIN and ALT HD OMNI monitoring paths as
„ On the Input page of the I/O Setup dialog
“Monitor” and also provides a dedicated Cue
(Setup > I/O), select the physical inputs from the output path (to the Headphone jack on the
Input selector. front panel of HD OMNI).

Input selector

Assigning Pro Tools Input channel paths to HD OMNI

physical inputs in the I/O Setup

– or –
I/O Setup, Output page
„ On the Main page of the Hardware Setup dia-
Depending on whether or not monitoring paths
log (Setup > Hardware), select from the available
are assigned in the Monitor page of the Hard-
physical inputs for each of the eight Input chan-
ware Setup dialog, not all physical outputs may
nels (see “Main” on page 23).
be available from the Output selector in the Out-
put page of the I/O setup. The selected physical
Output output ports in the I/O Setup are linked to the
eight channels of physical outputs selected for
The Output page of the I/O Setup for HD OMNI
Output in the Main page of the Hardware Setup.
lets you configure output signal path names and
If you change the setting on one dialog, it auto-
formats. You can have overlapping Output
matically updates in the other.
paths. Output names, channel formats, and
physical output mappings are saved with the
system.

Chapter 4: Configuring HD OMNI in Pro Tools 37

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 To assign HD OMNI physical outputs to Pro Tools 1–6 are automatically assigned to Monitor 1–2,
Output paths, do one of the following: Monitor 3–4, and Monitor 5–6. In the Output
„ On the Output page of the I/O Setup dialog
Channel Mapping grid, the Monitor Path spans
(Setup > I/O), select the physical outputs from the entire range of output assignments.
the Output selector.

HD OMNI 5.1 Monitoring path shown in the Output page

of the I/O Setup

Any of the remaining Output channels can be

assigned to any of the remaining available phys-
Input selector ical outputs on HD OMNI. For example, with a
5.1 Main Monitor Path assigned to Analog Out
Assigning Pro Tools Output channel paths to HD OMNI
physical outputs in the I/O Setup 1–6 and a stereo ALT monitor path assigned to
Analog Out 7–8, the Monitor Path in the Output
– or – page of the I/O Setup spans Output assignment
„ On the Main page of the Hardware Setup dia- 1–6. The remaining 7–8 Output can be assigned
log (Setup > Hardware), select from the available to any of the remaining available physical out-
physical outputs for each of the eight Output puts, which in this case would be AES/EBU 1–8
channels (see “Main” on page 23). (in pairs), ADAT 1–8 (in pairs), or S/PDIF.

HD OMNI with Monitoring HD OMNI without Monitoring

If you have configured a Monitoring path in the With no Monitor paths configured in the Mon-
Monitor page of the Hardware Setup dialog, the itor page of the Hardware Setup dialog, any un-
physical outputs assigned to the MAIN and ALT used physical output on HD OMNI can be se-
Monitoring path are unavailable in the Main lected for any the eight available Pro Tools
page of the Hardware Setup and in the I/O output paths. The only exception is the addi-
Setup. tional CUE 1–2 output.

The Monitoring path with the largest channel

format is displayed in the I/O Setup. The Out-
puts are automatically assigned to the Monitor
path in channel pairs from left to right. For ex-
ample, for a 5.1 or a 5.0 monitor path, Outputs

Pro Tools output paths assigned to physical outs on

HD OMNI

38 HD OMNI Guide

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 CUE 1–2 Output bus paths to output channel mappings
are automatically generated depending on the
The CUE 1–2 Output is a “hard-wired” stereo
defined session output bus paths and the avail-
output to the Headphone jack on the front
able system output channel paths.
panel of HD OMNI. You can assign Pro Tools
Output channels (left and right) to CUE 1–2 in
the Output page in the I/O Setup. Use these Out-
put channels (such as A 9–10) from Pro Tools
track outputs or sends for a separate headphone
mix. However, any audio sent to the CUE 1–2
Output only plays through the headphones
when the CUE button is enabled on the front
panel of HD OMNI. Otherwise, the headphone
jack mirrors the selected Control Room Moni-
toring Path (MAIN or ALT), with or without fold
down (depending on the CR Path Format and
selected Fold Down options).

Bus
The Bus page lets you configure internal and
output bus signal path names and formats, and I/O Setup, Bus page
map output busses to output paths (defined on
the Output page). Multichannel busses (stereo
or greater) can have any number of sub-paths.
Output bus and internal mix bus names and
channel formats are saved with the session.

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 Insert Mic Preamps
The Insert page of the I/O Setup lets you name The Mic Preamps page of the I/O Setup is used
Hardware Inserts that you may have connected for configuring hardware connections with a
to your Pro Tools audio interface. However, PRE (if present).
with HD OMNI, any channels that are used for
monitoring are unavailable for hardware inserts.
H/W Insert Delays
The H/W Insert Delays page of the I/O Setup is
used for compensating for the delay (latency) of
any Hardware Inserts.

I/O Setup, Insert page

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 chapter 5

SETUP Mode

SETUP mode provides direct access to many of

the same controls as in the Pro Tools Hardware SETUP Mode Options
Setup dialog right from the front panel of
SETUP mode lets you configure the following
HD OMNI. SETUP mode also provides controls
options:
for calibrating your system, adjusting the Dis-
• Analog Output Level (“OUTLVL”)
play contrast, setting the Fan mode, and several
other HD OMNI-specific settings. • Analog Output Trim (“OUTTRIM”)
• TRS Output Mirrors (“TRSOUT”)
• Fold-Down (“FOLDWN”)
• Analog Line Input Reference Level (“IN
REF”)
• Limiter (“LIMITR”)
• Internal Sample Rate (“SRATE”)
• Clock Source (“CLOCK”)
Setup Mode and Monitor controls • Digital 1–2 Input Source (“DIG1–2”)
• Sample Rate Conversion (“SRC1–2”)
To enter SETUP mode:
• SPL Display Calibration (“SPLCAL”)
„ Press the SETUP button on the front panel of
• Fan Control (“FAN”)
HD OMNI so that the SETUP button LED is lit.
• Firmware Version (“VER”)
Also, while in SETUP mode, text in the Display
lights amber. • Factory Reset (“RESET”)
• Display Contrast (“CNTRST”)
To exit SETUP mode:
„ Press the SETUP button on the front panel of
HD OMNI so that the SETUP button LED is not
lit.

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 Analog Output (OUTLVL) Analog Output Trim (OUTRIM)
In SETUP mode, the Analog Output Level In SETUP mode, the Analog Output Trim
(OUTLVL) control lets you set the Output Gain (OUTRIM) control lets you set the Analog
Level for each of the eight available analog Output Trim for each of the eight available
outputs. analog outputs from –40 dB to +10 dB in 0.1 dB
increments.
The Analog Output Gain Level control is
unavailable in SETUP mode when the The Analog Output Trim control is unavail-
Hardware Setup dialog is open. able in SETUP mode when the Hardware
Setup dialog is open.
To adjust between the Low Gain and High Gain
Analog Output Level: To adjust the Analog Output Trims:
1 Enter SETUP mode. The SETUP LED lights 1 Enter SETUP mode. The SETUP LED lights
green. green.
2 If necessary, turn the MONITOR encoder until 2 Turn the MONITOR encoder until the display
the display shows “OUTLVL” (OUTLVL is the de- shows “OUTRIM.”
fault control when first entering SETUP mode).
3 Press the MONITOR encoder button to select
3 Press the MONITOR encoder button to select OUTRIM. The SETUP LED blinks on and off.
OUTLVL. The SETUP LED blinks on and off.
4 Turn MONITOR encoder until the display
4 Turn MONITOR encoder until the display shows “OUT 1.”
shows “OUT 1.”
5 Press the MONITOR encoder button to select
5 Press the MONITOR encoder button to select OUT 1 (Analog Output channel 1).
OUT 1 (Analog Output channel 1).
6 Turn the MONITOR encoder to adjust the An-
6 Turn the MONITOR encoder to display either alog Output Trim (from –40.0 dB to +10.0 dB in
“SPEAKR” (+10 dBu) or “LINE” (+24 dBu). 0.1 dB increments) for the selected Output.
7 Press the MONITOR encoder button to select 7 Press the MONITOR encoder button to select
the displayed Output. The display shows “OUT the displayed setting. The display shows “OUT
1.” 1.”
8 Repeat preceding steps to set the Output Gain 8 Repeat preceding steps to set the Analog Out-
Level for Analog Outputs 2–8. put Trim for Analog Outputs 2–8.
9 Press SETUP button to exit OUTLVL and re- 9 Press SETUP button to exit OUTRIM and re-
turn to top level of SETUP Options menu. The turn to top level of SETUP Options menu. The
SETUP LED stops blinking and lights solid green. SETUP LED stops blinking and lights solid green.
10 Exit SETUP mode. 10 Exit SETUP mode.

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 TRS Output Mirrors (TRSOUT) Fold Down (FOLDWN)
In SETUP mode, the TRS Output Mirrors In SETUP mode, the Fold Down (FOLDWN)
(TRSOUT) control lets you set whether the Ana- control lets you set whether Fold Down (as con-
log TRS outputs on the back panel of HD OMNI figured in the Hardware Setup in Pro Tools) is
mirror DB-25 Outputs 1–2 or DB-25 Outputs enabled or not for the MAIN and ALT Control
7–8. This option can also be set to NONE, which Room paths. You can also set the Fold Down
results in no audio output from the Analog TRS option for Headphone monitoring.
Outputs.
The Fold Down control is unavailable in
The TRS Output Mirrors control is unavail- SETUP mode when the Hardware Setup di-
able in SETUP mode when the Hardware alog is open.
Setup dialog is open.
To enable (or disable) Fold Down for a Monitor
To select the TRS Output Mirrors option: Path:

1 Enter SETUP mode. The SETUP LED lights 1 Enter SETUP mode. The SETUP LED lights
green. green.

2 Turn the MONITOR encoder until the Moni- 2 Turn the MONITOR encoder until the Moni-
tor display reads “TRSOUT.” tor display reads “FOLDWN.”

3 Press the MONITOR encoder button. The 3 Press the MONITOR encoder button to select
SETUP LED blinks on and off, and the display FOLDWN. The SETUP LED blinks on and off.
shows the currently selected TRSOUT option.
4 Turn MONITOR encoder until the display
4 Turn the MONITOR encoder to display an shows the Monitor Path you want: MAIN, ALT,
option: or HP.
• OUT1–2 5 Press the MONITOR encoder button to select
• OUT7–8 the displayed Monitor Path.
• NONE
6 Turn the MONITOR encoder to display an op-
5 Press the MONITOR encoder to select the dis- tion. The following options are available de-
played option. The display shows “TRSOUT.” pending on which Monitor Path is selected:
• for MAIN: NONE or ON.
6 Press SETUP button to exit TRSOUT and re-
turn to top level of SETUP Options menu. The • for ALT: NONE or ON.
SETUP LED stops blinking and lights solid green. • for HP: NONE (Do Not Fold Down), ON (Fold
Down If Control Room Is Larger Than Stereo),
7 Exit SETUP mode.
or ON-LF (Fold Down Without LFE).

7 Press the MONITOR encoder to select the dis-

played option. The display shows the selected
Monitor Path.

Chapter 5: SETUP Mode 43

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 8 Repeat the preceding steps to set the Fold 8 Repeat preceding steps to set the Input Refer-
Down options for each of the other Monitor ence Level for Analog Input 2–4.
Paths.
9 Press SETUP button to exit IN REF and return
9 Press the SETUP button to exit FOLDDWN to top level of SETUP Options menu. The SETUP
and return to the top level of the SETUP Options LED stops blinking and lights solid green.
menu. The SETUP LED stops blinking and lights
10 Exit SETUP mode.
solid green.

10 Exit SETUP mode.

Limiter (LIMITR)
In SETUP mode, the Limiter (LIMITR) control
Analog Line Input Reference
lets you set the whether or not a limiter is en-
Level (IN REF) abled for each of the four available analog in-
In SETUP mode, the Analog Line Input Refer- puts.
ence Level (IN REF) control lets you set the Ref-
The Limiter control is unavailable in
erence Level for each of the four analog input
SETUP mode when the Hardware Setup di-
channels.
alog is open.
The Analog Line Input Reference Level con-
To enable (or disable) limiter for each of the analog
trol is unavailable in SETUP mode when
inputs:
the Hardware Setup dialog is open.
1 Enter SETUP mode. The SETUP LED lights
To set the Reference Level for each of the analog green.
inputs:
2 Turn the MONITOR encoder until the display
1 Enter SETUP mode. The SETUP LED lights
shows “LIMITR.”
green.
3 Press the MONITOR encoder button to select
2 Turn the MONITOR encoder until the display
LIMITR. The SETUP LED blinks on and off.
shows “IN REF.”
4 Turn MONITOR encoder until the display
3 Press the MONITOR encoder button to select
shows “IN1.”
IN REF. The SETUP LED blinks on and off.
5 Press the MONITOR encoder button to select
4 Turn MONITOR encoder until the display
IN 1 (Analog Input channel 1).
shows “IN 1.”
6 Turn the MONITOR encoder to display one of
5 Press the MONITOR encoder button to select
the following Limiter options:
IN 1 (Analog Input channel 1).
• NONE
6 Turn the MONITOR encoder to display either • SCLIP
“–10dBV” or “+4dBu”. • CURV
7 Press the MONITOR encoder button to select
7 Press the MONITOR encoder button to select
and confirm the displayed Input Reference the displayed Limiter option. The display shows
Level. The display shows “IN 1.” “IN1.”

44 HD OMNI Guide

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 8 Repeat preceding steps to set the Limiter op- 5 Turn MONITOR encoder until the display
tions for Analog Input 2–4. shows the sample rate:

9 Press SETUP button to exit LIMITR and return

• 44.1 kHz
to top level of SETUP Options menu. The SETUP • 48 kHz
LED stops blinking and lights solid green. • 88.2 kHz

10 Exit SETUP mode.

• 96 kHz
• 176.4 kHz
• 192 kHz

Internal Sample Rate (SRATE) 6 Press the MONITOR encoder button to select
and confirm the displayed sample rate.
In SETUP mode, the Internal Sample Rate
(SRATE) control lets you set the internal sample 7 Press SETUP button to exit SRATE and return
rate for HD OMNI (44.1 kHz to 192 kHz). to top level of SETUP Options menu. The SETUP
LED stops blinking and lights solid green.
The Internal Sample Rate control is un-
8 Exit SETUP mode.
available in SETUP mode when the Hard-
ware Setup dialog is open.

At sample rates of 176.4 kHz and 192 kHz, Sam-

Clock Source (CLOCK)
ple Rate Conversion is automatically enabled if
the Digital 1–2 Input Format is set to Optical In SETUP mode, the Clock Source (CLOCK) con-
(S/PDIF). trol lets you set the digital clock source for
HD OMNI.
To set the Internal Sample Rate:
The Clock Source control is unavailable in
1 Ensure that the Hardware Setup dialog is not
SETUP mode when Pro Tools is running.
open and that no Pro Tools session is open.
To set the Internal Sample Rate:
2 Enter SETUP mode. The SETUP LED lights
green. 1 Ensure that Pro Tools is not running.

3 Turn the MONITOR encoder until the display 2 Enter SETUP mode. The SETUP LED lights
shows “SRATE.” green.

4 Press the MONITOR encoder button to select 3 Turn the MONITOR encoder until the display
SRATE. The SETUP LED blinks on and off. shows “CLOCK.”

4 Press the MONITOR encoder button to select

CLOCK. The SETUP LED blinks on and off.

Chapter 5: SETUP Mode 45

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 5 Turn MONITOR encoder until the display
shows the Clock Source: Digital 1–2 Input Source
• INTRNL (Internal) (DIG1–2)
• DIG IN In SETUP mode, the Digital 1–2 Input Source
• WORD (Word Clock) (DIG IN) control lets you set the Digital 1–2 In-
• ADAT put Format for HD OMNI.

At sample rates of 88.2 kHz and higher, the The Digital 1–2 Input Source control is un-
ability to select the base sample rate for available in SETUP mode when the Hard-
Word Clock (44.1 kHz or 48 kHz) is not ware Setup dialog is open.
available in SETUP mode and must be done
At sample rates of 176.4 kHz and 192 kHz, Sam-
in the Pro Tools Hardware Setup (or Core
ple Rate Conversion is automatically enabled if
Audio manager on Mac).
the Digital 1–2 Input Format is set to Optical
6 Press the MONITOR encoder button to select (S/PDIF).
the displayed clock source.
To set the Digital 1–2 Input Source:
7 Press SETUP button to exit CLOCK and return
to top level of SETUP Options menu. The SETUP 1 Enter SETUP mode. The SETUP LED lights
LED stops blinking and lights solid green. green.

8 Exit SETUP mode. 2 Turn the MONITOR encoder until the display
shows “DIG1–2.”

3 Press the MONITOR encoder button to select

DIG1–2. The SETUP LED blinks on and off.

4 Turn MONITOR encoder until the display

shows the Digital 1–2 Input Source:
• AES
• S/PDIF
• OPTICAL

5 Press the MONITOR encoder button to select

the displayed Digital 1–2 Input Source.

6 Press SETUP button to exit DIG1–2 and return

to top level of SETUP Options menu. The SETUP
LED stops blinking and lights solid green.

7 Exit SETUP mode.

46 HD OMNI Guide

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 Sample Rate Conversion SPL Display Calibration
(SRC1–2) (SPLCAL)
In SETUP mode, the Sample Rate Conversion In SETUP mode, the SPL Display Calibration
(SRC1–2) control lets you enable (or disable) (SPLCAL) control lets you change the Monitor
Sample Rate Conversion for the selected Digital display to read in SPL (Sound Pressure Level) in-
1–2 Input Source. stead of the factory default dB values. Calibrat-
ing for SPL requires an SPL meter and is com-
The Digital 1–2 Input Source control is un- mon in post-production environments where
available in SETUP mode when the Hard- monitoring standards are commonly observed
ware Setup dialog is open. for greater portability, repeatability, and predict-
ability of mixed material.
At sample rates of 176.4 kHz and 192 kHz, Sam-
ple Rate Conversion is automatically enabled if HD OMNI lets you adjust the SPL Display Cali-
the Digital 1–2 Input Format is set to Optical bration both for the MAIN and ALT Monitor
(S/PDIF). Paths.

To enable (or disable) Sample Rate conversion for To properly calibrate the analog speaker
the selected Digital 1–2 Input Source: outputs, you will need to first use OUTRIM
1 Enter SETUP mode. The SETUP LED lights
mode and an SPL meter. After each speaker
green. output has been properly trimmed and cali-
brated to an SPL value, use the SPL Display
2 Turn the MONITOR encoder until the display Calibration to set the SPL value to match
shows “SRC1–2.” the level that was calibrated in OUTRIM
3 Press the MONITOR encoder button to select
mode. For more information, see
SRC1–2. The SETUP LED blinks on and off. Appendix B, “Sound Pressure Level Display
Calibration.”
4 Turn MONITOR encoder until the display
shows ON (or OFF).

5 Press the MONITOR encoder button to enable

(or disable) Sample Rate Conversion for the cur-
rently selected Digital 1–2 Input Source.

6 Press SETUP button to exit SRC1–2 and return

to top level of SETUP Options menu. The SETUP
LED stops blinking and lights solid green.

7 Exit SETUP mode.

Chapter 5: SETUP Mode 47

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 To enter SPL Display Calibration mode: To cancel the SPL value:
1 Enter SETUP mode. The SETUP LED lights 1 Enter SETUP mode. The SETUP LED lights
green. green.

2 Turn the MONITOR encoder until the display 2 Turn the MONITOR encoder until the display
shows “SPLCAL.” shows “SPLCAL.”

3 Press the MONITOR encoder button to select 3 Press the MONITOR encoder button to select
SPLCAL. The SETUP LED blinks on and off. SPLCAL. The SETUP LED blinks on and off.

4 Turn MONITOR encoder until the display 4 Turn MONITOR encoder until the display
shows one of the following options: shows one of the following options:
• CalMn (calibrate SPL for MAIN) • CalMn (calibrate SPL for MAIN)
– or – – or –
• CalAlt (calibrate SPL for ALT) • CalAlt (calibrate SPL for ALT)

5 Press the MONITOR encoder button to select 5 Press the MONITOR encoder button to select
the displayed option. the displayed option.

6 For the selected Monitor Path option (MAIN 6 For the selected Monitor Path option (MAIN
or ALT), turn the MONITOR encoder until the or ALT), turn the MONITOR encoder until the
display shows SET. display shows NO SPL.

7 Press the MONITOR encoder button to select 7 Press the MONITOR encoder button to con-
the SET. The display changes to show 85SPL. firm the setting.

8 Turn the MONITOR encoder to until the SPL 8 Press SETUP button to exit SPLCAL and return
reading is displayed. to top level of SETUP Options menu. The SETUP
LED stops blinking and lights solid green.
9 Press the MONITOR encoder button to con-
firm the setting. 9 Exit SETUP mode.

10 Press SETUP button to exit SPLCAL and re-

turn to top level of SETUP Options menu. The
SETUP LED stops blinking and lights solid green.

11 Exit SETUP mode.

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 Fan Failure Mode
Fan Control (FAN)
If the fan stalls or fails completely, HD OMNI
In SETUP mode, the Fan Control (FAN) lets you continues to operate normally, but the Monitor
set the HD OMNI cooling fan behavior. LCD displays “FANerr” and the backlighting
changes to red.
To set the Fan Control setting:
1 Enter SETUP mode. The SETUP LED lights If Fan Failure mode engages, do the following:
green. „ Finish your production tasks as quickly as pos-
2 Turn the MONITOR encoder until the display sible and then power cycle HD OMNI (quit
shows “FAN.” Pro Tools, if Pro Tools is running) to reset the
fan.
3 Press the MONITOR encoder button to select
FAN. The SETUP LED blinks on and off. „ If the fan still doesn’t start, try initiating a fac-
tory reset (see “Factory Reset (RESET)” on
4 Turn MONITOR encoder until the display page 50).
shows one of the following options:
„ If the fan still doesn’t start, power off HD
ON The fan is always on. Select this option if you OMNI immediately and contact Avid or your
are installing HD OMNI in a machine room or Avid dealer for repair.
isobox.
– or –

AUTO The fan runs at high or low speed auto-

Firmware Version (VER)
matically, depending on the internal tempera- In SETUP mode, the Firmware Version (FIRM)
ture of HD OMNI. Select this option if HD OMNI options let you see the current versions of the
is present in your listening environment. Firmware, FPGA, and Board revision for HD
5 Press the MONITOR encoder button to select OMNI.
the displayed FAN option.
To view the current version of the Firmware, FPGA,
6 Press SETUP button to exit FAN and return to or Board revision:
top level of SETUP Options menu. The SETUP
1 Enter SETUP mode. The SETUP LED lights
LED stops blinking and lights solid green.
green.
7 Exit SETUP mode.
2 Turn the MONITOR encoder until the display
shows “VER.”

3 Press the MONITOR encoder button to select

FIRM. The SETUP LED blinks on and off.

4 Turn MONITOR encoder until the display

shows one of the following options:
• FIRM
• FPGA
• BOARD

Chapter 5: SETUP Mode 49

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 5 Press the MONITOR encoder button to select 4 Do one of the following:
the displayed option. The version number for • Press the MONITOR encoder button again
the selected option is shown in the display. to confirm RESET.
6 Press SETUP button to exit the current view – or –
and return to VER. • Press the SETUP button to cancel the fac-
7 Repeat steps 4–6 to view the versions of the
tory reset.
other options. 5 Exit SETUP mode.

8 Press SETUP button to exit VER and return to

top level of SETUP Options menu. The SETUP
LED stops blinking and lights solid green. Display Contrast (CNTRST)
9 Press SETUP again to exit SETUP mode. In SETUP mode, the Display Contrast (CNTRST)
control lets you adjust the contrast for the
HD OMNI display (0–62).
Factory Reset (RESET)
To adjust the contrast for the HD OMNI Display:
In SETUP mode, the Factory Reset (RESET) com-
1 Enter SETUP mode. The SETUP LED lights
mand returns HD OMNI parameters to the fac-
green.
tory default settings.
2 Turn the MONITOR encoder until the display
Factory Reset is not available if Pro Tools is shows “CNTRST.”
running. Quit Pro Tools before resetting
HD OMNI to the factory settings. 3 Press the MONITOR encoder button to select
CNTRST. The SETUP LED blinks on and off.
To reset HD OMNI to the factory default settings:
4 Turn the MONITOR encoder to adjust the Dis-
1 Enter SETUP mode. The SETUP LED lights play Contrast (STEP 0–62).
green.
5 Press the MONITOR encoder button to select
2 Turn the MONITOR encoder until the display the displayed setting. The SETUP LED stops
shows “RESET.” blinking and lights solid green, and the display
3 Press the MONITOR encoder button to select shows CNTRST.
RESET. 6 Exit SETUP mode.

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 appendix a

Pinout Diagrams for the DB-25 Connectors

Analog Output DB-25 AES/EBU DB-25

+4" Analog Outputs

CH1_HOT 24 24
CH12_RCV_HOT
1 CH1_COLD 12 1-2 N/A
CH12_RCV_COLD 12
CH1_GND 25 RCV CH12_RCV_GND 25
CH2_HOT 10 10
CH34_RCV_HOT
2 CH2_COLD 23 3-4 N/A
CH34_RCV_COLD 23
CH2_GND 11 RCV CH34_RCV_GND 11
CH3_HOT 21 21
CH56_RCV_HOT
3 CH3_COLD 9 5-6 N/A
CH56_RCV_COLD 9
CH3_GND 22 RCV CH56_RCV_GND 22
CH4_HOT 7 7
CH78_RCV_HOT
4 CH4_COLD 20 7-8 N/A
CH78_RCV_COLD 20
CH4_GND 8 RCV CH78_RCV_GND 8
CH5_HOT 18 18
CH12_XMT_HOT
5 CH5_COLD 6 1-2 CH12_XMT_COLD 6
CH5_GND 19 XMT CH12_XMT_GND 19
CH6_HOT 4 4
CH34_XMT_HOT
6 CH6_COLD 17 3-4 CH34_XMT_COLD 17
CH6_GND 5 XMT CH34_XMT_GND 5
CH7_HOT 15 15
CH56_XMT_HOT
7 CH7_COLD 3 5-6 CH56_XMT_COLD 3
CH7_GND 16 XMT CH56_XMT_GND 16
CH8_HOT 1 1
CH78_XMT_HOT
8 CH8_COLD 14 7-8 CH78_XMT_COLD 14
CH8_GND 2 XMT CH78_XMT_GND 2
NC_1 13 13
NC_1
MH1 26 26
MH1
MH2 27 27
MH2

Appendix A: Pinout Diagrams for the DB-25 Connectors 51

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 52 HD OMNI Guide

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 appendix b

Sound Pressure Level Display Calibration

To properly calibrate the analog speaker out- 5 Using an SPL Meter at the mix position, trim
puts, the you will need to first use OUTRIM the output from the HD OMNI front panel until
mode and an SPL meter. After each speaker out- the SPL is reached (85 SPL).
put has been properly trimmed and calibrated to
an SPL value, use the SPL Display Calibration to TRIM mode on HD OMNI reads in dB.
set the SPL value to match the level that was cal-
ibrated in OUTRIM mode. The SPL meter should be set to Slow Response
with a C-weighted scale.
For example, to calibrate a 5.1 surround MAIN CR
Monitor Path at 85 SPL: 6 Repeat steps 3–5 for all Outputs.

1 Create a Pro Tools session with 7 Auxiliary In- 7 Exit OUTRIM mode.
put tracks and do the following:
8 Turn the MONITOR encoder until the display
• Bus the Output of the first Auxiliary Input
shows SPLCAL.
track to the Inputs of the other 6 Auxiliary
Input tracks (2–7). 9 Press the MONITOR encoder button to select
• Route each of the Outputs of Auxiliary In- SPLCAL.
put tracks 2–7 to Monitor paths 1–6. 10 Turn MONITOR encoder until the display
• Lower your main output volume. shows Cal MN.
• Insert Signal Generator on the first Auxil-
11 Press the MONITOR encoder button to select
iary Input track and set it to generate pink
Cal MN.
noise at 0 dB, and set the track to Solo Safe
mode. 12 Turn the MONITOR encoder until the dis-
• Be sure all tracks are set to Unity. play shows SET.
• Slowly increase the main output volume to 13 Press the MONITOR encoder button to select
Unity. the SET. The display changes to show 0SPL.
2 On HD OMNI, set the MAIN CR Path gain to 14 Turn the MONITOR encoder to until the dis-
0 dB using the Monitor encoder. play reads 85 SPL.
3 Enter OUTRIM mode and select OUT 1.

4 Solo the Auxiliary Input track in Pro Tools

that is routed to the first speaker.

Appendix B: Sound Pressure Level Display Calibration 53

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 15 Press the MONITOR encoder button to con-
firm the setting.

In some cases the ALT CR Path might use

the same outputs as the MAIN CR Path. In
that case, do not re-trim the ALT speaker
outputs, instead adjust the ALT Control
Room level and calibrate it to match to the
reference set for the MAIN CR Path (in our
example 85 SPL).

54 HD OMNI Guide

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 appendix c

Compliance Information

Proposition 65 Warning
Environmental Compliance
This product contains chemicals, including lead,
Disposal of Waste Equipment by Users known to the State of California to cause cancer and
birth defects or other reproductive harm. Wash hands
in the European Union after handling.

Perchlorate Notice
This product may contain a lithium coin battery. The State of
California requires the following disclosure statement:
“Perchlorate Material – special handling may apply, See
www.dtsc.ca.gov/hazardouswaste/perchlorate.”

This symbol on the product or its packaging indicates that this Recycling Notice
product must not be disposed of with other waste. Instead, it
is your responsibility to dispose of your waste equipment by
handing it over to a designated collection point for the recycling
of waste electrical and electronic equipment. The separate
collection and recycling of your waste equipment at the time of
disposal will help conserve natural resources and ensure that
it is recycled in a manner that protects human health and the
environment. For more information about where you can drop
off your waste equipment for recycling, please contact your
local city recycling office or the dealer from whom you
purchased the product.

Appendix C: Compliance Information 55

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 Australian Compliance
EMC (Electromagnetic
Compliance)
Avid declares that this product complies with the following
standards regulating emissions and immunity:
• FCC Part 15 Class A
• EN55103-1 E4 Avid
• EN55103-2 E4
• AS/NZS 3548 Class A
• CISPR 22 Class A Canadian Compliance
This Class A digital apparatus complies with Canadian
FCC Compliance for United States ICES-003
Cet appareil numérique de la classe A est conforme à la norme
NMB-003 du Canada
Radio and Television Interference
This equipment has been tested and found to comply with the CE Compliance
limits for a Class A digital device, pursuant to Part 15 of the
FCC Rules. (EMC and Safety)
DECLARATION OF CONFORMITY
We, Avid, 2001 Junipero Serra Boulevard
Daly City, CA 94014-3886, USA
650-731-6300
declare under our sole responsibility that the product
HD OMNI
complies with Part 15 of FCC Rules. Avid is authorized to apply the CE (Conformité Europénne)
Operation is subject to the following two conditions: mark on this compliant equipment thereby declaring conformity
(1) this device may not cause harmful interference, and to EMC Directive 89/336/EEC and Low Voltage Directive
(2) this device must accept any interference received, 2006/95/EEC.
including interference that may cause undesired operation.

Communication Statement
NOTE: This equipment has been tested and found to comply
Safety Compliance
with the limits for a Class A digital device, pursuant to Part
15 of the FCC Rules. These limits are designed to provide Safety Statement
reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, This equipment has been tested to comply with USA and
and can radiate radio frequency energy and, if not installed Canadian safety certification in accordance with the
and used in accordance with the instructions, may cause specifications of UL Standards: UL60065 7th /IEC 60065 7th
harmful interference to radio communications. However, and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been
there is no guarantee that interference will not occur in a authorized to apply the appropriate UL & CUL mark on its
particular installation. If this equipment does cause harmful compliant equipment.
interference to radio or television reception, which can be
determined by turning the equipment off and on, the user is
encouraged to try and correct the interference by one or Warning
more of the following measures:
• Reorient or locate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician
for help.
Any modifications to the unit, unless expressly approved by
Avid, could void the user's authority to operate the
equipment.

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 Important Safety Instructions 12) For products that are not rack-mountable: Use only with a
cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the equipment. When a cart is used,
1) Read these instructions. use caution when moving the cart/equipment combination to
avoid injury from tip-over.
2) Keep these instructions.
13) Unplug this equipment during lightning storms or when
3) Heed all warnings. unused for long periods of time.

4) Follow all instructions. 14) Refer all servicing to qualified service personnel. Servicing
is required when the equipment has been damaged in any way,
5) Do not use this equipment near water. such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the equipment, the
6) Clean only with dry cloth. equipment has been exposed to rain or moisture, does not
operate normally, or has been dropped.
7) Do not block any ventilation openings. Install in accordance
with the manufacturer’s instructions. 15) For products that are a Mains powered device:
The equipment shall not be exposed to dripping or splashing
8) Do not install near any heat sources such as radiators, heat and no objects filled with liquids (such as vases) shall be
registers, stoves, or other equipment (including amplifiers) placed on the equipment.
that produce heat.
Warning! To reduce the risk of fire or electric shock, do not
9) Do not defeat the safety purpose of the polarized or expose this equipment to rain or moisture.
grounding-type plug. A polarized plug has two blades with one
wider than the other. A grounding type plug has two blades and 16) For products containing a lithium battery:
a third grounding prong. The wide blade or the third prong are CAUTION! Danger of explosion if battery is incorrectly
provided for your safety. If the provided plug does not fit into replaced. Replace only with the same or equivalent type.
your outlet, consult an electrician for replacement of the
obsolete outlet. 17) For products with a power switch:
The main power switch is located on the front panel of the
10) Protect power cords from being walked on or pinched HD OMNI. It should remain accessible after installation.
particularly at plugs, convenience receptacles, and the point
where they exit from the equipment. 18) The equipment shall be used at a maximum ambient
temperature of 40° C.
11) Only use attachments/accessories specified by the
manufacturer.

Appendix C: Compliance Information 57

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 58 HD OMNI Guide

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 index

Numerics Control Room monitoring paths 27

2.1 monitoring format 30 Control Room Path
–20 dB pad 6 channel matrix 29
48V phantom power 6 Control Room paths 27
CR Path 27
A CR Path channel assignments 31
CUE 1–2 39
AC Power connector 15
Curv 26
ADAT Optical 13
AES/EBU 12
Hardware Setup 24 D
AES/EBU (XLR) input 12 DigiLink
AES/EBU Output Cable Specifications 14
DB-25 Pinout Diagram 51 DigiLink Mini
AES/EBU output (DB-25) 12 Cable Specifications 14
ALT Control Room monitoring path 27 DigiLink Mini Ports 13
Analog Line Input Reference Level (IN REF) control Digital 1–2 Input Source (DIG IN) control 46
44 Digital Format 24
Analog Output 12 Digital I/O
DB-25 Pinout Diagram 51 connectors 12
analog output (DB-25) 12 direct monitoring 34
Analog Output Level (OUTLVL) control 42 Do Not Fold Down (L/R Channels Only) 33
Analog Output Trim (OUTRIM) control 42 Do Not Fold Down Between CR Paths 33
audio interfaces
heat and ventilation 17 E
Avid Engage Fold-Down for ALT option 33
customer success 3 Engage Fold-Down for Main option 33
EXPANSION PORT (DigiLink Mini) 14
B Ext. Clock Input 7
back panel features 11 Ext. Clock Output 25

C F
CH1 and CH2 Inputs 5 Fan 49
Clock Source (CLOCK) control 45 Fan Control (FAN) 49
Clock Source pop-up menu 24 Fold Down 30
compatibility 2 Fold Down (FOLDWN) control 43
Control Room Fold-Down setting 33 Fold Down Between CR Paths 33

Index 59

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 Fold Down If Control Room Is Larger Than Stereo I
33 I/O Setup
Fold Down options 32 Bus page 39
Fold Down Without LFE (If Present) 33 dialog 36
H/W Insert Delays page 40
H Input page 36
Insert page 40
Hardware Setup 23
Mic Preamps page 40
Analog Out page 26
Output page 37
Clock Source 24
configuring 23 I/O Setup dialog 36
Digital Format 24 IN/OUT button 9
digital input format 24 Input Type button 6
Ext. Clock Output 25 INSERT button 7
Limiter pop-up menu 25 Internal clock (INT) mode 7
Mixer page 34 Internal clock mode 7
Monitor page 26 Internal Sample Rate (SRATE) control 45
Output Level 26
physical inputs 24
physical outputs 24 L
Sample Rate 24 Lightpipe
sample rate conversion 25 Optical port 13
TRS Mirrors 26 Limiter (LIMITR) control 44
HD OMNI LINK button 7
Analog I/O 1 Loop
analog inputs 11 Master 8
assigning physical outputs 38 Loop LED 8
back panel 11 Loop Master 8
connecting 17
Loop Sync
connecting to a Pro Tools|HD system 17
connecting 19
Digital I/O 1
ports 15
direct monitoring 34
features 1
front panel 5 M
hardware inserts 11 MAIN Control Room monitoring path 27
input limiting 25 METERS 9
line inputs 11 Monitor Output Level selector 32
microphone inputs 11 Monitor Path Assignments 28
Mixer channel strips 34 Monitoring
Monitor paths 27 2.1 format 30
Monitoring 2 ALT 27
Monitoring path in I/O Setup 38 CR Path channel assignments 31
Overview 5 CR Path Format selector (MAIN/ALT) 29
Physical outputs in I/O Setup 38 CR Path formats 29
Power Switch LED ring 5 Fold Down 30
synchronization 2 Fold Down options 32
Headphone Fold-Down setting 33 MAIN 27
High Pass Filter button 6 odd format assignments 29

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 O SPL Display Calibration (SPLCAL) control 47
Optical (ADAT) 24 studio connections 20
about Lightpipe-compatible devices 13 Sync Mode
Optical (S/PDIF) 13 LEDs 7
Hardware Setup 24 synchronization
Optical (TOSLINK) input and output 13 word clock ports 15
Optical Output Format 24 system requirements 2
OUTRIM mode 53
T
P Tascam DA30 25
PAD 6 technical support 3
PAD button 6 TRS Mirrors 26
Phase Invert button 7 TRS Output Mirrors (TRSOUT) control 43
Pinout Diagrams 51 TRS Outputs 12
Power Switch 5
Preamp Controls 6 W
PREAMP Display 7 website 3
PREAMP Encoder 7 Word Clock 8, 15, 24
PRIMARY PORT (DigiLink Mini) 13 Word Clock ports 15
Pro Tools
Hardware Setup 23
I/O Setup 36

R
Record/Input Monitor Enable setting 35
Reference Level (Analog Input) 25
registration 2

S
S/MUX 2 13
S/MUX 4 13
S/PDIF
Hardware Setup 24
S/PDIF input and output 12
S/PDIF Output Format 25
Sample Rate 8
Sample Rate (Session) 8
Sample Rate Conversion (SRC) 25
Sample Rate Conversion (SRC1–2) control 47
Setup menu
I/O Setup 36
SETUP mode 41
Soft Clip 25
SPL 47
SPL Display Calibration 53

Index 61

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 62 HD OMNI Guide

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 Avid Technical Support (USA) Product Information
2001 Junipero Serra Boulevard Visit the Online Support Center at For company and product information,
Daly City, CA 94014-3886 USA www.avid.com/support visit us on the web at www.avid.com

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