Pro Tools HD

 

PTHDX_Oview_FeaturedImage4_Enlarge KopiePro Tools HDX is Avid’s flagship DSP-based Digital Audio Workstation, the world’s standard DAW platform for the most demanding projects in music, film and post production.

In a nutshell HDX offers up to 5 times the DSP power and 4 times longer delay compensation than the HD Accel card of the previous flagship system, Pro Tools HD. On many types of plug-ins, the speed advantage is even more significant because the modern DSP chips have way more RAM than the previous Motorola 56k chips that were used in HD Accel. Additionally, the built-in FPGA chip frees all 18 DSP chips per card for actual signal processing as the behind the scenes audio routing management is handled by the FPGA. This is also a massive enhancement from Pro Tools HD Accel which forced you to dedicate DSP chips for Pro Tools Mixer. 64ch audio I/O capacity per card is also doubled from previous HD Accel-generation.

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Combined with the speed advantages introduced in new Pro Tools HD software – like disk cache which loads the whole session in RAM and realtime CPU-based fades – HDX coupled with a modern Mac with SSD boot drive and decent amount of RAM is an absolute speed monster. And thanks to DSP-based, dedicated processing, you never have to be afraid to overload the system with complex mixes, thus avoiding the inherent unreliability of systems based on CPU only. There’s no need to split the projects into “sister-sessions” just to avoid crashing the machine.

Maxed out at three HDX cards, Pro Tools HDX offers 786 simultaneous Voices (playable audio tracks, 256 per card) plus 512 instrument tracks, 512 MIDI tracks, 512 Aux tracks, and 64 video tracks. Unlimited busses rounds up the track galore of a system which basically enables a production of a Hollywood film in a box – coupled with a professional controller like S6 of course.

 

Mix bigger, better projects

PTHDX_Feat_MixBiggerBetterProjects– Up to 5x more power per card than Pro Tools|HD Accel
– Create bigger, more complex mixes with 4x more tracks (up to 768 voices)
– Double your ins and outs with up to 64 channels of I/O per card up to 192
– Handle large plug-in-heavy mixes easily with 4x longer Automatic Delay

 

Get more headroom – less headaches

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– Record and mix in higher resolution (up to 32-bit, 192 kHz audio)
– Let your mixes breathe with increased headroom, and eliminate clipping
– Improve workflow and sonic parity between DSP-accelerated and native-based Pro Tools systems with the new AAX plug-in platform

 

The fastest workflows

PTHDX_Feat_FastestWorkflows

– Get a highly responsive feel – even in your most complex projects
– Easily keep the channel routing under control in complex sessions
– Share work with Media Composer and other AAF-compatible software with support for multichannel tracks, Clip Gain, and a 24-hour timeline
– Work faster with pro-level tools, including Clip Gain, Clip FX, advanced audio
editing and automation, surround sound, and more 
– Accelerate your recording, editing, and mixing with Avid S6 and S3 consoles, which offer unprecedented hands-on control 

 

It’s all about the sound

PTHDX_Feat_AllAboutSound

There’s a reason why more professionals trust the sound of Pro Tools than with any other DAW. Now you can get even higher fidelity audio with HDX.
– Get better audio clarity and detail than ever before combining Pro Tools|HDX with any Pro Tools HD Series audio interface 
– Compose music and polish mixes with included high-quality virtual instruments, effects, and sound processing plug-ins
-Get the renowned sound of the coveted Avid System 5 console with the Avid Channel Strip plug-in

 

The versatility you need – now and in the future

PTHDX_Feat_VersatilityYouNeed

– Easily scale Pro Tools|HDX to handle whatever comes your way
– Gain more tracks and power by simply adding another Pro Tools|HDX card to your system 
– Mix and match Pro Tools HD Series interfaces to meet your needs, or use Pro Tools HD software standalone for on-the-go mixing 
– Collaborate with Media Composer editors through AAF sharing or Satellite technology options

 

Attain the highest sound quality and performance

PTHDX_Feat_AttainHighestSoundQualityBecause Pro Tools HD is designed and optimized to be part of an integrated hardware/software solution, you can capture audio in pristine clarity with near-zero latency. Even when mixing large, complex projects, you’ll experience uncompromised performance—on a Pro Tools|HDX DSPpowered system or on the host with Pro Tools|HD Native.

 

Record and edit with advanced audio tools

PTHDX_Feat_RecordEditAdvancedToolsSolo tracks in PFL (pre-fader listen) or AFL (after-fader listen) mode. Work more efficiently when punching performances with TrackPunch and DestructivePunch. And enhance and speed up editing tasks with Continuous Scrolling, Scrub Trim tool, Replace Clip command, Time Compression and Expansion Edit to Timeline Selection command, field recorder workflows, and more.

 

Work more easily with video

PTHDX_Feat_WorkEasilyWithVideoEdit and mix sound for larger, more complex video productions, and display up to 64 video tracks in the timeline. Expand your post capabilities with advanced video features, including multiple video playlists and basic video editing tools. Share audio mixes with Media Composer editors (and vice versa) through AAF. Or integrate directly into the Media Composer workflow with the Video Satellite option,  eliminating the need to render effects, transcode video, or copy files.

 

Mix in stereo or surround

PTHDX_Feat_MixInStereoSurroundWith Pro Tools HD, you can mix in everything from mono up to 7.1 surround sound. Build up your sonic landscape and add movement to your mix with the built-in surround panner. Work with groups of tracks faster and easier with VCA Group mixing. And with advanced automation tools, you can tackle even the largest, most complex mixes with ease.

 

more info

Pro Tools HDX

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Pro Tools HD Native

Prod_Avid_HD_Native_10.10The Avid HD Native card give you the possibility to use the full capabilities of Pro Tools HD software in a lower-cost native solution. For music and post-production professionals who want the CPU-based best performance possible, Pro Tools Native is the solution as the on-board FPGA chip frees the host from routing etc. housekeeping work thus guaranteeing lowest possible latency on a host based system.

Key benefits
– Create bigger sessions with up to 256 audio tracks and up to 64 channels of I/O using a single PCIe card
– Record, edit, and mix with ease using Pro Tools HD software
– Attain the highest performance and lowest latency of any native digital audio workstation
– Get the ideal tracking experience and set-and-forget direct monitoring with an integrated low-latency monitor
– Achieve ultimate audio quality with a Pro Tools HD Series interface
– Boost your capabilities with advanced automation, surround mixing, input monitoring, AFL/PFL solo, destructive punch, and other professional features
– Get better sounding mixes with RTAS plug-ins and Automatic Delay Compensation on hardware and software inserts
– Share sessions with Pro Tools|HD users without any loss of data
– Synchronize to timecode and video reference, with frame-edge accuracy, when using SYNC HD
– Get the ultimate hands-on control over your mixes using ICON or C|24 control surfaces
– Total flexibility – work with Mac or Windows, Pro Tools HD or third-party software

Features
– 64 Maximum Channels of I/O
– 256 / 128 / 64 Maximum Audio Tracks @ 48 kHz / 96 kHz / 192 kHz
– 256 Simultaneous Record Tracks
– 512 Total Instrument Tracks
– 512 Total MIDI Tracks
– 512 Total Auxiliary Tracks
– Unlimited busses
– 1 PCIe host card
– 64-bit floating point mixer resolution
– 32-bit floating point processing resolution
– 64 ASIO/Core I/O Audio Streams
– RTAS, AudioSuite
– Surround Mixer
– Automatic Delay Compensation
– supported interfaces MTRX, HD I/O, OMNI, MADI, MIDI I/O, PRE, SYNC HD, 96 & 96i I/O, 192 & 192 Digital
– support for S6, S3, C|24, ICON D-Command, D-Control
– Interplay and Nexis (Windows only)
– Video Satellite support
– Remote Control
– Support for MachineControl and Satellite Link

more info
Remixing with HD Native


Pro Tools HD Native Thunderbolt

Prod_HDN_Thunderbolt_12.12HD Native Thunderbolt has exactly the same features as the HD Native PICe card. Compared to its sister card, HD Native Thunderbolt offers greater flexibility, bringing HD I/O sound quality and Pro Tools HD software to a laptop. And audiophile quality headphone amp capable of driving even the most demanding headphones.

HD Native is a perfect companion to Avid VENUE system, enabling 64 tracks of recording and playback with a small box that fits your backpack.

more info


Avid MTRX

Avid’s flagship audio I/O Pro Tools | MTRX is based on the revolutionary DAD AX32. MTRX delivers incredible sound quality with unparalleled flexibility, making it the ultimate centerpiece of a modern recording or post production studio.

With one 2RU device you do more than with a rack full of traditional I/Os and cover DigiLink, Dante, MADI Coax, MADI Optical, AES/EBU, SDI, DSD, and last but not least up to 384kHz analog I/O with pristine remote controllable Mic Pres. MTRX can clock to AES11, Word Clock as well as Blackburst and sports dual PSUs for high-level redundancy. A perfect companion to Avid S6, MTRX also comes with Pro | Mon 2 software pre-installed, enabling complex multichannel monitoring, remote controllable directly from S6 touch screen. In addition to its 1’500 x 1’500 matrix, Pro | Mon also provides a 256 x 32, 32-bit floating point summing mixer, enabling you to sum stems and sources to feed monitor outputs.

The modular design of MTRX lets you roll your own dream machine and upgrade its capabilities in the future. Additionally to the 16ch AES/EBU and 64ch BNC coax MADI on board, you can add up to eight of the following cards. Up to six of them can be analog converters for max. 48ch analog in or out.

– 8 Line Pristine AD Card – eight channels of line-level analog inputs
– 2 Mic/Line Pristine AD Card – two channels of analog inputs and mic preamps with relay-based gain circuit, an ideal low-cost option for talkback and tracking
– 8 Mic/Line Pristine AD Card – 8ch of analog inputs and mic preamps with relay-based gain circuit
– 8 Pristine DA Card – 8ch of line-level analog outputs with an output level control
– 8 AES3 I/O Card – 8 line AES3 inputs and outputs (16ch), with built-in sample rate conversion
– Dual SDI/HD/3G Card – 2 x 16 channels of SDI/HD/3G connections (embed/de-embed) with built-in sample rate conversion
– 64-Channel IP Audio Dante Module – up to 64 channels of low-latency digital audio using Dante (64 channels at 44.1 kHz or 16 channels at 192 kHz)
– Dual MADI I/O Card – 128 channels of MADI inputs and outputs through two optical SFP ports
– MADI Module for Base Unit – an additional one or two 64-channel I/O coaxial or optical MADI module to the chassis

If there ever was a Swiss army knife for highest end professional audio, MTRX is it. Contact us for a demo, this is the future of audio interfaces.


Avid HD I/O

Prod_Avid_HD_IO_8.10While resembling “blue” I/Os on the outside, HD I/O has been completely redesigned on the inside with high-quality electronics with best-in-class A/D and D/A conversion and the lowest possible latency. HD I/O comes in three configurations, so you can choose the interface that best suits your connection needs. Additionally you can expand your analog or digital I/O by simply installing an HD I/O option card into any empty bay.

I/Os on cards (HD I/O 8x8x8):
– 8 channels of pristine-quality analog I/O (DB-25)
– 8 channels of AES/EBU I/O (DB-25)
– 8 channels of TDIF I/O (DB-25)
– 16 channels of ADAT I/O (S/MUX II and IV)

I/Os on cards (HD I/O 16×16 Analog):
– 16 channels of pristine-quality analog I/O (DB-25)

I/Os on cards (HD I/O 16×16 Digital):
– 16 channels of AES/EBU I/O (DB-25) (192 kHz single-wire and dual-wire)
– 16 channels of TDIF I/O (DB-25)
– 16 channels of ADAT I/O (S/MUX II and IV)

Additional Digital I/Os on chassis (all configurations):
– 2 channels of AES/EBU
– 2 channels of S/PDIF I/O
– Word (1x) and Slave Clock (256x) input/output

Features
– 50 possible inputs and outputs
– Supports up to 16 simultaneous channels of high-definition I/O
– Card option bay for analog or digital I/O expansion with AD, DA, or Digital cards
– State-of-the-art low latency 24-bit/192 kHz A/D and D/A conversion
– Switchable, real-time sample rate conversion on digital inputs on the Digital card
– Curv, the new built-in soft-knee limiter that allows higher levels to disk for punchier, hotter recordings
– Expansion Port to connect another HD interface, including previous generation HD interfaces

more info


Avid HD OMNI

Prod_Avid_HD_OMNI_8.10HD OMNI is an all-in-one interface, designed to completely integrate with Pro Tools HD. You can connect your mics, instruments, line-level gear, and digital devices, and choose how you want to monitor your mix. HD OMNI implements the same state-of-the-art ultra low latency A/D and D/A conversion of the HD I/O. It can be also used as standalone monitoring unit without having Pro Tools running.

Features
– ultra low latency state-of-the-art A/D and D/A conversion
– 2 premium, digitally-controlled mic/DI preamps
– 4 line inputs
– 8 line outputs, with true analog gain
– versatile digital I/O, with sample rate conversion
– 8 channels of ADAT I/O (supports S/MUX II and IV)
– 2×8 channels of AES/EBU I/O
– 2 channels of S/PDIF I/O
– complete integration with Pro Tools|HD for full routing, mixing, and monitoring control
– persistent and customizable 14X26 pass-through mixer, without Pro Tools running
– built-in Curv soft-knee limiter
– stereo to 7.1 surround monitoring
– main and alt speaker output selector
– dedicated cue path

more info


Avid HD MADI

Prod_Avid_HD_MADI_8.10The Avid HD MADI allows Pro Tools|HD workflows to integrate with MADI-equipped devices, including routers and digital mixing consoles. HD MADI offers great connection flexibility, fuss-free use through built-in sample rate conversion, and the ability to send and receive up to 64 channels of audio between your Pro Tools setup and MADI devices up to 2 km away, all with a single rack unit interface.

Features
– send and receive up to 64 audio streams
– up to 24-bit, 192 kHz sample rate support
– 2 MADI inputs (optical and coaxial)
– 2 MADI outputs (simultaneous optical and coaxial)
– built-in sample rate conversion on all I/O channels
– complete integratation with Pro Tools|HD for full input, output, and routing control
– sync to an external clock via BNC Word Clock and XLR AES/EBU connections when using SRC
– sync through Internal, Loop Sync, Word Clock, AES/EBU, and MADI
– 64-channel non-Varispeed and 56-channel Varispeed support (at 48 kHz)
– integrate Pro Tools|HD with MADI-equipped VENUE systems for recording and Virtual Soundcheck
– verify and troubleshoot signals through status indicators and global I/O signal LEDs
– compact 1U rack-mountable design
– Pro Tools|HD connection through two DigiLink Mini connections (32 audio channels each)

more info


Avid SYNC HD

Prod_Avid_SYNC_HD_8.10Accommodating the high sample rates supported by Pro Tools|HD with the utmost accuracy, SYNC HD attains near sample-accurate lock to serial timecode (via RS-422), LTC, or bi-phase/tach signals. It incorporates a high-fidelity, low-jitter master Word Clock that supports operations up to 192 kHz as well as standard pull-up/pull-down rates for film and video applications. SYNC HD also features AES/EBU clock I/O, SD and HD video reference in/thru, video program in/out with timecode window inserter, and a host of other features, making it the obvious choice for professional Pro Tools|HD installations in commercial music and post-production facilities.

Features
– High-fidelity, low-jitter master clock
– Near sample-accurate lock to timecode or bi-phase signals
– Word Clock I/O up to 192 kHz capable
– Supports all major industry-standard clock sources and timecode formats
– Supports SD and HD video reference input (tri-level sync) up to 1080p / 60 fps
– Supports standard pull-up/pull-down rates for film/video
– Video input with timecode window inserter

more info


Avid PRE

Prod_Avid_PRE_8.10PRE offers a transparent pre-amplification stage designed specifically for the Pro Tools|HD environment.

– 8 high-performance, discrete, matched-transistor hybrid microphone pre-amplification circuits
– Support for mic (XLR), direct instrument (DI), and line level inputs (1/4″) on all 8 channels
– Each channel includes a high pass filter, phase reverse, 48V (phantom power), and -18 dB pad
– Fully remote-controllable via Pro Tools software and Avid control surfaces
– Allows for the highest fidelity by keeping low-level signals close to the source
– Selectable impedance matching for mic, line, or instrument inputs
– MIDI IN/OUT/THRU ports for remote operation
– All features supported in stand-alone mode, making PRE an ideal analog front end for any recording system

Input Stage
– Circuit Topology: Discrete Matched Transistor Hybrid
– Input Gain: 0 dB to +69 dB in ~3 dB steps, with -18 dB pad engaged; -18 dB to +51 dB
– Maximum Input Level: +47 dBu, pad in, @ 1 kHz, < 0.1% THD
– Mic E.I.N (unweighted): -128 dB @ 66 dB gain (20Hz – 20kHz) 150 ohm
– THD+N: < 0.0005% @ 1kHz, 0dB gain @ 20dB signal; < 0.001% (20Hz – 20kHz), 0dB gain @ 0dB signal
– CMMRR: < -75 dB @ 1 kHz, 140 mVcm, +6 dB gain
– Crosstalk: < -90 dB (20 Hz – 20 kHz)
– Frequency Response: ±0.1 dB; 20Hz – 20kHz, @ +48 dB gain
– Input Impedance (Input Z): 1.5 kohm (low); 15 kohm (mid); 1.5 Mohm (high)
– Phantom Power: 48V +/- 1V
– High Pass Filter: -3 dB @ 85 Hz, 18 dB/octave
– Maximum Output Level: +29 dBu, balanced, @ 1 kHz, < 0.1% THD

Output Stage
– Maximum Output: +26 dBu, balanced; 600 ohms, DC-coupled
– Output Impedance: ~50 ohms
– Nominal Level: +4 dBu
– Trim level: -10 dB
– Remote Mode: MIDI, IN/OUT/THRU

more info


Pro Tools Custom Keyboard

Work faster in your Pro Tools environment with direct access to primary transport and editing functions. Designed for Mac/Windows-based Pro Tools systems, this affordable Pro Tools Custom Keyboard uses the same symbols and color coding system built into Avid control

surfaces while retaining all the conventional alphanumeric labels that appear on standard computer keyboards. The keyboard also offers plug-and-play USB connectivity.

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cw_400x210_ProToolsCutomKeyboardWin

more info Mac                                          more info Windows

 

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Discontinued Products

Pro Tools HD|Accel (discontinued 2012)

Prod_ProTools_HD_8Pro Tools HD software offers an unparalleled breadth of options for creating in a professional music or post production environment.

Easily import audio and MIDI files and loops for rapid song construction. Take advantage of an unmatched range of unique, non-destructive editing tools for groove creation, dialog replacement, Foley, and more. Choose among a wide-range of instrument and effects plug-ins for creative song development and sound design. Even experiment freely with different arrangements on the fly — all non-destructively.

Features
– World-class audio editing features
– Advanced import functionality
– Powerful, intuitive MIDI sequencing
– Advanced virtual instrument integration
– TrackPunch functionality
– Beat Detective groove analysis and correction
– Realtime Elastic Time and Elastic Pitch correction
– Full-featured, integrated DigiBase Pro file management utility
– Capture video directly in the timeline with Avid Mojo and Avid Mojo SDI and AVoption|V10
– Video Satellite and Video Satellite LE options for Quicktime and Avid video offloading
– Satellite Link for synchronizing multiple Pro Tools HD systems
– Compatible with a wide-range of third-party creative software options (Audiosuite, RTAS and TDM plug-ins, ReWire-compatible applications)
– Extended control and functionality with the ICON integrated console

Pro Tools HD in the recording phase of production
– Superior sound quality up to 24 Bit / 192 kHz
– Virtually no latency — even with real-time processing
– Individual cue mixes for performers
– Non destructive AFL/PFL solo
– Recallable custom mixer session templates
– Inline console mode for ICON D-Control systems

Pro Tools HD software – mixing power and flexibility
– 192 audio tracks, 10 inserts and 10 sends per track, 128 internal busses
– 160 aux inputs, 256 MIDI tracks, 128 instrument tracks
– Ultimate flexible mixing architecture
– Dedicated and expandable DSP power together with CPU processing power
– Advanced automation modes and functionality
– True 48-bit mix bus
– Automatic Delay Compensation
– Wide-range of professional third-party processing options
– From mono to 7.1 surround mixing with multiple formats simultaneously
– Powerful synchronization features
– Advanced ICON console worksurface options with the familiar feel of traditional mixing     consoles


192 I/O (discontinued August 2010)

Prod_192_FrntBck192 I/O, the flagship of the Pro Tools|HD interface family, is the best-sounding audio interface ever offered from Digidesign, rivaling similar products costing more than twice its price. In addition to support for up to 16 channels of analog and digital input and output, 192 I/O features a wide range of analog and digital I/O options to choose from.

I/Os on cards:
– 8 channels of pristine-quality analog I/O (DB-25)
– 8 channels of AES/EBU I/O (DB-25)
– 8 channels of TDIF I/O (DB-25)
– 16 channels of ADAT I/O

Digital I/Os on chassis:
– 2 channels of AES/EBU
– 2 channels of S/PDIF I/O
– Word (1x) and Slave Clock (256x) input/output

Features
– 50 possible inputs and outputs
– Supports up to 16 simultaneous channels of high-definition I/O
– Card option bay for analog or digital I/O expansion with 192 AD, 192 DA, or 192 Digital cards
– World-class 24-bit/192 kHz A/D and D/A conversion
– Switchable, real-time sample rate conversion on digital inputs on the 192 Digital card
– Soft-Clip Limiter that allows higher levels to disk for punchier, hotter recordings
– Expansion Port that allows for direct connection of another 192 I/O or 96 I/O
– Legacy Peripheral port for connection of 888|24, 882|20, 1622, or 24-Bit ADAT Bridge I/Os at 48 kHz


192 AD Expansion Card (discontinued August 2010)

Prod_Analog_InTo expand the analog I/O capacity of 192 I/O, you can add a 192 AD card, providing 8 more channels of high-definition analog input.

– Sample Rate: 44.1, 48, 88.2, 96, 176.4, 192 kHz ±10%
– Dynamic Range: 120 dB (A-weighted), 118 dB (unweighted)
– THD+N: 0.00035% (-109 dB); +21 dBu @ 997 Hz
– THD+N: 0.00035% (-109 dB); +21 dBu, 20 Hz – 20 kHz
– Frequency Response: ±0.05 dB @ +2 dBu, 20 Hz – 20 kHz


192 DA Expansion Card (discontinued August 2010)

Prod_Analog_OutThe analog I/O capacity of 192 I/O can be expanded by adding the 192 DA card, which gives you 8 additional channels of analog output. 192 I/O can also be outfitted with the 192 Digital card, which adds 8 channels of AES/EBU, TDIF, and ADAT I/O connections.

– Sample Rate: 44.1, 48, 88.2, 96, 176.4, 192 kHz ±10%
– Dynamic Range: 118 dB (A-weighted), 115 dB (unweighted)
– THD+N: 0.00056% (-105 dB); -1 ‘ @ 997 Hz
– Frequency Response: ±0.05 dB, -20 ‘, 20 Hz – 20 kHz
– Sample Rate = 48 kHz, Noise BW = 22 Hz – 20 kHz unless otherwise noted, Tambient = +25 C


192 Digital Expansion Card (discontinued August 2010)

Prod_Digital_IO192 I/O can also be outfitted with the 192 Digital card, which adds 8 channels of AES/EBU, TDIF, and ADAT I/O connections.

 

 

 


192 Digital I/O (discontinued August 2010)

Prod_192Digital_FrntBck192 Digital I/O is a high-definition audio interface specifically designed to facilitate digital input from a variety of sources into the Pro Tools|HD environment. It features a wide range of digital I/O options, including up to 16 channels of AES/EBU, TDIF, and ADAT I/O, along with S/PDIF I/O.

– Up to 16 simultaneous channels of AES/EBU I/O at 96 kHz
– Up to 8 simultaneous channels of AES/EBU I/O at 192 kHz
– 16 channels of AES/EBU, TDIF, ADAT I/O
– 2 additional channels of AES/EBU or S/PDIF digital I/O
– 8 additional channels of ADAT optical or 2 channels of optical S/PDIF I/O
– Switchable, real-time sample rate conversion on digital inputs
– Word (1x) and Slave Clock (256x) input/output
– Expansion Port for direct connection of another 192 Digital I/O, 192 I/O or 96 I/O
– Legacy Peripheral Port for connection of 888|24, 882|20, 1622, or 24-Bit ADAT Bridge I/Os at 48 kHz or lower sample rate


96 I/O (discontinued August 2010)

Prod_96_FrntBckThe 96 I/O offers Pro Tools users a high-resolution, multi-channel audio interface with excellent sonic performance. An affordable 16-channel audio interface for Pro Tools|HD, 96 I/O features a wealth of I/O options, including 8 channels of high-definition analog I/O, 8 channels of ADAT optical I/O, 2 channels of AES/EBU and S/PDIF I/O, and Word Clock I/O.

– Supports up to 16 channels of high definition I/O
– High-quality audio performance at a new, low price point
– 8 channels of 24-bit/96 kHz analog I/O (TRS)
– 8 channels of ADAT optical I/O (TOS-Link)
– 1 AES/EBU I/O pair (XLR)
– 1 S/PDIF I/O pair (RCA)
– Expansion Port that allows for direct connection of another 96 I/O
– Legacy Peripheral port that allows for connection of 888|24, 882|20, 1622, and 24-Bit ADAT Bridge I/Os at 48 kHz or lower sample rate

A/D
– Sample Rate: 44.1, 48, 88.2, 96 kHz ±10%
– Dynamic Range: 115 dB (A-weighted), 112 dB (unweighted); see Notes 1 and 4
– THD+N: 0.0007% (–103 dB); +17 dBu @ 997 Hz; see Note 1
– Frequency Response: ±0.05 dB @ –2 dBu, 20 Hz – 20 kHz; see Notes 1 and 2

D/A
– Sample Rate: 44.1, 48, 88.2, 96 kHz ±10%
– Dynamic Range: 114 dB (A-weighted), 112 dB (unweighted); see Notes 1 and 3
– THD+N: 0.0013% (–97 dB); –1 dBFS @ 997 Hz; see Note 1
– Frequency Response: +0.1/–0.2 dB; –20 dBFS, 20 Hz – 20 kHz; see Notes 1 and 2
– Sample Rate = 48 kHz, Noise BW = 22 Hz – 20 kHz unless otherwise noted, Tambient = +25 C


96i I/O (discontinued August 2010)

Prod_96i_FrntBck96i enables you to readily introduce output from third-party outboard gear — keyboards, samplers, effects, and other line-level equipment — into your Pro Tools environment. Its 16 analog inputs provide balanced or unbalanced A/D conversion using tip-ring-sleeve (TRS) 1/4″ connectors. A S/PDIF port capable of 24-bit digital I/O allows you to connect professional DAT recorders, CD players, and other digital recording devices. A/D and D/A converters of the same quality as those of the Digidesign 96 I/O ensure that your signal’s fidelity is maintained going into and coming out of Pro Tools.

– High-quality, 2U I/O device for instruments and effects gear
– 24-bit balanced TRS connections: 16 analog inputs, 2 analog outputs
– Two channels of 24-bit S/PDIF I/O (RCA connection)
– Supports sample rates up to 96 kHz
– Digidesign 96 I/O-quality converters
– Software-adjustable level controls for inputs (six-step for inputs 1-4, two-step for inputs 5-16); outputs software-switchable between +4 dBu and –10 dBV
– 108 dB or greater dynamic range
– Support for balanced and unbalanced connections
– Front-panel LEDs for input and output metering
– Multiple units provide up to 96 discrete inputs
– Compatible with Pro Tools|HD cards and peripherals

A/D
– Sample Rate: 44.1, 48, 88.2, 96 kHz ±10%
– Dynamic Range: 111 dB (A-weighted), 108 dB (unweighted); see Notes 1 and 4
– THD+N: 0.0008% / 0.0013% (-102 dB / -98 dB); +5 dBV/+17 dBu; see Note 5
– Frequency Response: Response: +0.1 / -0.2 dB @ -2 dBu, 20 Hz – 20 kHz; see Notes 1 and 2
– Differential Input Impedance: >25 kohms

D/A
– Sample Rate: 44.1, 48, 88.2, 96 kHz ±10%
– Dynamic Range: 113 dB (A-weighted), 111 dB (unweighted); see Notes 1 and 3
– THD+N: 0.003%/0.003% (-90 dB / -90 dB); -1 dBFS @ 997 Hz; see Note 6
– Frequency Response: +0.1 / -0.4 dB; -20 dBFS, 20 Hz – 20 kHz; see Notes 1 and 2
– Differential Output Impedance: 50 ohms (typical)


PRE (discontinued August 2010)

Prod_PRE_FrntBckPRE offers a transparent pre-amplification stage designed specifically for the Pro Tools|HD environment.

– 8 high-performance, discrete, matched-transistor hybrid microphone pre-amplification circuits
– Support for mic (XLR), direct instrument (DI), and line level inputs (1/4″) on all 8 channels
– Each channel includes a high pass filter, phase reverse, 48V (phantom power), and -18 dB pad
– Fully remote-controllable via Pro Tools software and Digidesign control surfaces
– Allows for the highest fidelity by keeping low-level signals close to the source
– Selectable impedance matching for mic, line, or instrument inputs
– MIDI IN/OUT/THRU ports for remote operation
– All features supported in stand-alone mode, making PRE an ideal analog front end for any recording system

Input Stage
– Circuit Topology: Discrete Matched Transistor Hybrid
– Input Gain: 0 dB to +69 dB in ~3 dB steps, with -18 dB pad engaged; -18 dB to +51 dB
– Maximum Input Level: +47 dBu, pad in, @ 1 kHz, < 0.1% THD
– Mic E.I.N (unweighted): -128 dB @ 66 dB gain (20Hz – 20kHz) 150 ohm
– THD+N: < 0.0005% @ 1kHz, 0dB gain @ 20dB signal; < 0.001% (20Hz – 20kHz), 0dB gain @ 0dB signal
– CMMRR: < -75 dB @ 1 kHz, 140 mVcm, +6 dB gain
– Crosstalk: < -90 dB (20 Hz – 20 kHz)
– Frequency Response: ±0.1 dB; 20Hz – 20kHz, @ +48 dB gain
– Input Impedance (Input Z): 1.5 kohm (low); 15 kohm (mid); 1.5 Mohm (high)
– Phantom Power: 48V +/- 1V
– High Pass Filter: -3 dB @ 85 Hz, 18 dB/octave
– Maximum Output Level: +29 dBu, balanced, @ 1 kHz, < 0.1% THD

Output Stage
– Maximum Output: +26 dBu, balanced; 600 ohms, DC-coupled
– Output Impedance: ~50 ohms
– Nominal Level: +4 dBu
– Trim level: -10 dB
– Remote Mode: MIDI, IN/OUT/THRU


SYNC HD – (discontinued August 2010)

Prod_SyncHD_FrntBckAccommodating the high sample rates supported by Pro Tools|HD with the utmost accuracy, SYNC HD attains near sample-accurate lock to serial timecode (via RS-422), LTC, or bi-phase/tach signals. It incorporates a high-fidelity, low-jitter master Word Clock that supports operations up to 192 kHz as well as standard pull-up/pull-down rates for film and video applications. SYNC HD also features AES/EBU clock I/O, SD and HD video reference in/thru, video program in/out with timecode window inserter, and a host of other features, making it the obvious choice for professional Pro Tools|HD installations in commercial music and post-production facilities.

Features

– High-fidelity, low-jitter master clock
– Near sample-accurate lock to timecode or bi-phase signals
– Word Clock I/O up to 192 kHz capable
– Supports all major industry-standard clock sources and timecode formats
– Supports SD and HD video reference input (tri-level sync) up to 1080p / 60 fps
– Supports standard pull-up/pull-down rates for film/video
– Video input with timecode window inserter


MIDI I/O (discontinued)

Prod_Midi_FrntBckMIDI I/O includes 10 MIDI inputs and outputs for a total of 160 channels. The hardware thru mode allows you to patch any number of inputs to any number of outputs without the need to access your computer. MIDI I/O connects to your computer via a self-powered USB connection and includes support for MIDI Time-Stamping for superb timing accuracy and precision.

– 10 MIDI I/O ports, supporting 160 MIDI channels
– Support for connecting up to 4 MIDI I/O peripherals for a total of 40 ports
– Support for Digidesign Time-Stamping
– USB-powered connection
– Full OMS compatibility
– Hardware Thru Mode — patches input 1 to all outputs
– Stand-alone operation with Hardware Thru Mode
– Output ports 9 and 10 mirrored on front and rear panel
– Sturdy, full-depth metal chassis


SYNC I/O (discontinued, replaced by SYNC HD)

Prod_SyncIO_FrntBckThe SYNC I/O the most consistent and dependable synchronization solution for Pro Tools|HD installations in commercial music and post production facilities.

– Next-generation, high-fidelity, low-jitter clock design
– Near sample-accurate lock to time code or bi-phase signals
– Word Clock I/O up to 192-kHz
– AES/EBU clock I/O, video reference in/thru, video program in/out
– Supports all major industry-standard clock sources and time code formats
– Supports industry-standard pull-up/pull-down rates for film/video
– Two 9-pin ports that for dual device control with MachineControl option in master or remote slave mode


 

Command|8 (discontinued 2012)

Prod_Command8.08.13Command|8 puts integrated, tactile manipulation of Pro Tools TDM or LE systems running on Windows XP or Mac OS X at your fingertips more affordably than ever before. While there are several compact control surface options from third-party manufacturers compatible with Pro Tools, only Command|8 was made by Avid and Focusrite specifically for Pro Tools. As a result, Command|8 provides a great deal more sophisticated control with Pro Tools software, and has been tested and qualified specifically for Pro Tools.

Features

– Supports both Pro Tools TDM and LE systems (independently)
– Simple USB connection to your PC or Mac
– Compact size, comfortable ergonomic layout
– 8 touch sensitive motorized faders, 8 automatable rotary encoders with LED rings
– Big, bright, 110-character (55 characters x 2 rows) backlit LCD display for easily viewing information
– Integrated 1-IN/2-OUT MIDI interface (16 channel in, 32 out)
– Standalone MIDI controller mode
– Flexible Focusrite onboard monitoring section
– Works natively with the Avid family of products’ Automation Gain Tool
– May be used in conjunction with ProControl, Control|24, and Digi 002

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