HD OMNI Guide Version 8.
Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 HD OMNI Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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) .
chapter 1 Introduction HD OMNI is a professional digital audio interface designed for use with Pro Tools|HD® systems. HD OMNI provides a compact preamp, input mixer, monitoring, and I/O solution for music production and recording, and post production studios.
Monitoring • An additional stereo “CUE” output path in Pro Tools for headphone monitoring from the front panel headphone jack System Requirements and Compatibility • Front panel Control Room (MAIN/ALT) and Headphone monitoring volume control HD OMNI requires a qualified Pro Tools|HD system. Pro Tools HD supports only one HD OMNI per system. • Flexible monitoring with fold-down from all stereo and surround formats (up to 7.
Conventions Used in This Guide All of our guides use the following conventions to indicate menu choices and key commands: : Convention Action File > Save Choose Save from the File menu Control+N Hold down the Control key and press the N key Control-click Hold down the Control key and click the mouse button Right-click Click with the right mouse button The names of Commands, Options, and Settings that appear on-screen are in a different font.
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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.
Preamp Controls The front panel Channel 1 and 2 inputs provide high-quality Microphone and Instrument level preamps. These two preamp channels can be linked so that changing any parameter on either channel causes an identical change to the other preamp channel (this is useful for stereo sources). When unlinked, the parameters for each preamp can be set independently. CH 1 and CH 2 MIC/LINE/DI Inputs, and Preamp controls Input Type Lets you select MIC, LINE, or INST for input on Channels 1 and 2.
Phase Invert Inverts the phase for the Channel 1 and Channel 2 front panel inputs. The Phase Invert button LED lights when this option is enabled. INSERT Enables (or disables) the returns for any hardware inserts connected to the back panel Channel 1 and Channel 2 input and output pairs. Note that the sends are always active. When Link 1 & 2 is disabled, Phase Invert can be independently enabled (or disabled) on Channels 1 and 2 by pressing the PREAMP Encoder to select the desired channel.
When synchronized to Word Clock, External Clock input and output do not have to be at the Word clock rate. At 44.1 kHz and 48 kHz, EXT CLOCK IN synchronization will be 1x the current session sample rate. However, for sample rates higher than 48 kHz, HD OMNI generates a choice of 1x, 2x, or 4x of a base rate of 44.1 kHz or 48 kHz, as follows: MST (Loop Master) Indicates which Pro Tools audio interface is the master Pro Tools peripheral.
METERS MONITOR Controls These five-segment LEDs indicate signal level for either the input or output channels 1–8. These meters are calibrated at –42 dB, –18 dB, –12 dB, –6 dB, and 0 dB, respectively. The 0 dB LED segment lights red if clipping occurs at the Input or Output depending on whether IN or OUT is selected. HD OMNI provides onboard monitoring from mono up to 7.1 surround. Use the front panel MONITOR controls to select the monitoring path and adjust monitoring levels.
ALT Toggles the Control Room output paths between MAIN and ALT. The LED is lit when the Control Room output is assigned to ALT, and it is off when the Control Room output is assigned to MAIN. You can also press and hold the ALT button to engage ALT Trim mode (see “Analog Output Trim (OUTRIM)” on page 42). MUTE Mutes (or unmutes) the MAIN or ALT Control Room outputs only, whichever is active. The LED lights when MUTE is enabled.
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 simultaneous analog inputs to Pro Tools using 24-bit A/D converters that support sample rates up to 192 kHz. Channels 1 and 2 can be from the front panel inputs (XLR microphone or 1/4-inch TRS Instrument), from the back panel MICROPHONE (XLR) 1 and 2 Inputs, or from the back panel LINE IN (1/4-inch TRS) 1 and 2 Inputs.
Analog Outputs Digital Inputs and Outputs Back panel analog TRS outputs, and analog and digital (AES/EBU) DB-25 outputs Back panel digital inputs and outputs AES EBU OUT 1–8 TRS OUT 1 and 2 HD OMNI provides two 1/4-inch TRS Outputs for monitoring either ANALOG OUT 1 and 2 or ANALOG OUT 7 and 8 (or neither).
OPTICAL IN and OUT (1 and 2) HD OMNI provides two sets of eight-channel Optical (TOSLINK) input and output. The Optical I/O on HD OMNI supports up to 24-bit audio, at sample rates up to 192 kHz. The number of available Optical input and output channels varies with sample rate as described below: ADAT Optical At sample rates of 44.1 kHz and 48 kHz, Optical Port A provides eight channels of audio input and output. Optical Port B is unused for input, but on output it mirrors Optical Port A (channels 1–8).
DigiLink Mini Cable Length Specifications EXPANSION PORT There are six different lengths of DigiLink Mini cables: The EXPANSION PORT lets you connect an additional Pro Tools|HD audio interface to HD OMNI. The EXPANSION PORT passes channels 17–32 to and from the expansion (or secondary) audio interface. • 18” (0.46m), included with each interface • 12’ (3.6m) • 25’ (7.62m) • 50’ (15.25m), the maximum length supported for 192 kHz sessions (sold separately) • 100’ (30.
Clock and Synchronization Ports Back panel Word Clock and Loop Sync In and Out WD CLK IN and OUT The Word Clock I/O ports are standard BNC connectors that receive and output word clock signal. These ports can be used to synchronize HD OMNI with any word clock-capable device. Word Clock In can be selected as the Clock Source from the front panel or in the Hardware Setup dialog in Pro Tools. Word Clock Out can be configured in the Hardware Setup dialog using the External Clock Output selector.
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chapter 3 Connecting HD OMNI Pro Tools|HD Systems HD OMNI provides up to eight channels of analog and digital I/O with Pro Tools when connected to a Pro Tools|HD card using a DigiLink Mini to DigiLink cable adapter or when connected to the expansion port of another Pro Tools|HD audio interface (such as HD I/O). You can add additional Pro Tools|HD audio interfaces to your Pro Tools|HD system using the Expansion port on the back of HD OMNI or using additional Pro Tools|HD cards.
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 Interfaces to a Pro Tools|HD system: 3 Connect additional HD audio interfaces to ad- 1 Connect the Primary Port of the first HD au- 4 Make the necessary Loop Sync connections.
Connecting Loop Sync To make Loop Sync connections: If you are using two (or more) Pro Tools audio interfaces or a SYNC peripheral, Loop Sync must be connected to maintain proper clock among the devices. For an example of connecting multiple Pro Tools|HD audio interfaces, see Figure 2 below. 1 Connect (daisy-chain) the Loop Sync Out of 12-foot DigiLink Mini to DigiLink cable each interface to the Loop Sync In of the next interface with the BNC cables included with your audio interface.
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.
Optical in/out to ADAT Analog Output Digital Inputs/Outputs to DAT recorder Hardware Inserts Power Amp and Speakers Figure 4.
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chapter 4 Configuring HD OMNI in Pro Tools Pro Tools Hardware Setup The Pro Tools Hardware Setup dialog lets you configure HD OMNI for use with Pro Tools. It also lets you configure some of the same settings as in Setup mode on HD OMNI (see Chapter 5, “SETUP Mode”). In addition to the standard Main, Analog In, and Analog Out tabs, the Hardware Setup dialog provides the Monitor and Mixer tabs that are unique to HD OMNI.
Clock Source Selects the appropriate clock source for the system. In most cases, you can simply use Internal. The other options are for resolving Pro Tools to external clock sources. Depending on the selected Digital 1–2 Input Format, Clock Source options include: Internal, AES/EBU, S/PDIF, Optical (S/PDIF), ADAT 1–8 (at 44.1 kHz and 48 kHz), ADAT S/MUX 1–8 (at 88.2 kHz and 96 kHz), ADAT S/MUX 1–4 (at 176.
Sample Rate Conversion Enables (or disables) real-time sample rate conversion for the selected Digital 1–2 Input Format. When enabled, if the sample rate of the digital input source differs from the Pro Tools session sample rate, HD OMNI converts the incoming sample rate to the session sample rate in real time. Analog In The Analog In page of the Hardware Setup dialog lets you set the Reference Level for the physical analog inputs on HD OMNI. You can also apply a limiter to each of the four analog inputs.
Curv Attenuates the incoming analog signal using a soft knee limiter circuit. This guarantees super soft limiting without becoming hard, even with large overloads on input. Analog Out The Analog Out page of the Hardware Setup dialog lets you set the Output Level for the physical analog outputs on HD OMNI. You can also select which channels are mirrored on the back panel TRS Outputs.
Changes to the Monitor page are reflected in the Output options on the Main page in the Hardware Setup dialog, the Output and Bus pages of the I/O Setup dialog, and in the Output path names for tracks in your Pro Tools session. Because of this, you should always configure the Monitor page first, before configuring the other pages of the Hardware Setup and the I/O Setup. With HD OMNI, Delay Compensation is not supported on assigned Monitor outputs.
Monitor Path Assignments Reserve Stereo Physical Output Pairs Regardless of the Monitor Format (channel width), the Monitor path always reserves stereo pairs of physical outputs even if the Monitor path is not using both channels of a given stereo pair. Additionally, the Monitor path is always labeled in consecutive pairs starting with 1–2 regardless of which physical outputs the different Monitor channels are assigned to.
CR Path Channel Matrix Analog (DB-25) physical outputs MAIN channel assignments (5.1 monitor shown) AES/EBU (DB-25) physical outputs Digital Stereo physical outputs ALT channel assignments (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 matrix provides monitoring channel assignment rows for the MAIN and ALT CR Path.
A Note About the 2.1 Format Fold Down When using the 2.1 monitoring format, Pro Tools sends only two output channels (stereo) to HD OMNI. The LFE channel, or .1 channel, is synthesized on the HD OMNI rather than being a separate Lf channel from Pro Tools. Consequently, when using a 2.1 monitoring format, one stereo pair of Output channels will be used for the Monitor path, and an additional stereo pair will be greyed out and unavailable as it is reserved for the Lf channel on HD OMNI.
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 example, 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 Effects). A 5.
Monitor Output Level Selector In addition to being able to set the Output Level for physical output in the Analog Out page, you can also set Output Levels without leaving the Monitor page. To set the Output Level for a physical output channel in the Monitor page: Click the output channel number at the top of the CR Path Channel Matrix and select the Output Level: • Speaker (+10dBu) – or – • Line (+24dBu) Option-click (Mac) or Alt-click (Windows) to set the Output Level for all channels.
Engage Fold-Down for Main Enable the Engage Fold-Down for Main option (Type 1) to automatically fold down the MAIN CR Path from the selected Format (such as 5.1) to the selected Fold Down setting (such as Stereo). Engage Fold-Down for MAIN can also be enabled from the front panel in SETUP mode (see Chapter 5, “SETUP Mode”).
Mixer Mixer Channel Strips The Mixer page of the Hardware Setup dialog lets you configure HD OMNI to mix the signals coming from HD OMNI physical inputs to the current active Monitor paths (direct monitoring). This way you monitor any incoming signal whether or not it is routed through the Pro Tools mixer. The Mixer channel strips are grouped in pairs of physical outputs: Analog 1–2, Analog 3–4, AES/EBU, ADAT 1–2, and so on. Each channel strip provides the same controls.
Volume Control Adjust the volume of the mono signal sent to any of the selected output assignments. The volume control only attenuates the incoming signal from 0 dB (unity) to –INF. Option-click (Mac) or Alt-click (Windows) the Volume control to set it to the default unity setting. Mute Button Mutes (or unmutes) the input signal to all selected output assignments. Link Button Links (or unlinks) the Volume, Mute, and output assignments between the pair of inputs for the channel strip.
Pro Tools I/O Setup This section describes how to configure input, output, bus, monitoring, cue, and other signal paths for HD OMNI in the Pro Tools I/O Setup. For more information the I/O Setup dialog, see the Pro Tools Reference Guide. Opening the I/O Setup Dialog The I/O Setup dialog can be opened from the application window (with a session closed), or from within a session (when a session is open). Closing the I/O Setup Dialog To close the I/O Setup dialog and save changes: Click OK.
To assign HD OMNI physical inputs to Pro Tools Input paths, do one of the following: On the Input page of the I/O Setup dialog (Setup > I/O), select the physical inputs from the Input selector. The Output page of the I/O Setup displays the MAIN and ALT HD OMNI monitoring paths as “Monitor” and also provides a dedicated Cue output path (to the Headphone jack on the front panel of HD OMNI).
To assign HD OMNI physical outputs to Pro Tools Output paths, do one of the following: On the Output page of the I/O Setup dialog (Setup > I/O), select the physical outputs from the Output selector. 1–6 are automatically assigned to Monitor 1–2, Monitor 3–4, and Monitor 5–6. In the Output Channel Mapping grid, the Monitor Path spans the entire range of output assignments. HD OMNI 5.
CUE 1–2 The CUE 1–2 Output is a “hard-wired” stereo output to the Headphone jack on the front 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 Output 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.
Insert Mic Preamps The Insert page of the I/O Setup lets you name Hardware Inserts that you may have connected to your Pro Tools audio interface. However, with HD OMNI, any channels that are used for monitoring are unavailable for hardware inserts. The Mic Preamps page of the I/O Setup is used for configuring hardware connections with a PRE (if present). 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.
chapter 5 SETUP Mode SETUP mode provides direct access to many of the same controls as in the Pro Tools Hardware Setup dialog right from the front panel of HD OMNI. SETUP mode also provides controls for calibrating your system, adjusting the Display contrast, setting the Fan mode, and several other HD OMNI-specific settings.
Analog Output (OUTLVL) Analog Output Trim (OUTRIM) In SETUP mode, the Analog Output Level (OUTLVL) control lets you set the Output Gain Level for each of the eight available analog outputs. In SETUP mode, the Analog Output Trim (OUTRIM) control lets you set the Analog Output Trim for each of the eight available 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 Hardware Setup dialog is open.
TRS Output Mirrors (TRSOUT) Fold Down (FOLDWN) In SETUP mode, the TRS Output Mirrors (TRSOUT) control lets you set whether the Analog TRS outputs on the back panel of HD OMNI mirror DB-25 Outputs 1–2 or DB-25 Outputs 7–8. This option can also be set to NONE, which results in no audio output from the Analog TRS Outputs. In SETUP mode, the Fold Down (FOLDWN) control lets you set whether Fold Down (as configured in the Hardware Setup in Pro Tools) is enabled or not for the MAIN and ALT Control Room paths.
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 Paths. ence Level for Analog Input 2–4. 9 Press the SETUP button to exit FOLDDWN and return to the top level of the SETUP Options menu. The SETUP LED stops blinking and lights solid green. 9 Press SETUP button to exit IN REF and return to top level of SETUP Options menu. The SETUP LED stops blinking and lights solid green. 10 Exit SETUP mode. 10 Exit SETUP mode.
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 to top level of SETUP Options menu. The SETUP LED stops blinking and lights solid green. 10 Exit SETUP mode. • 44.1 kHz • 48 kHz • 88.2 kHz • 96 kHz • 176.4 kHz • 192 kHz Internal Sample Rate (SRATE) In SETUP mode, the Internal Sample Rate (SRATE) control lets you set the internal sample rate for HD OMNI (44.
5 Turn MONITOR encoder until the display shows the Clock Source: • INTRNL (Internal) • DIG IN • WORD (Word Clock) • ADAT At sample rates of 88.2 kHz and higher, the ability to select the base sample rate for Word Clock (44.1 kHz or 48 kHz) is not available in SETUP mode and must be done in the Pro Tools Hardware Setup (or Core Audio manager on Mac).
Sample Rate Conversion (SRC1–2) SPL Display Calibration (SPLCAL) In SETUP mode, the Sample Rate Conversion (SRC1–2) control lets you enable (or disable) Sample Rate Conversion for the selected Digital 1–2 Input Source. In SETUP mode, the SPL Display Calibration (SPLCAL) control lets you change the Monitor display to read in SPL (Sound Pressure Level) instead of the factory default dB values.
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.
Fan Control (FAN) In SETUP mode, the Fan Control (FAN) lets you set the HD OMNI cooling fan behavior. Fan Failure Mode If the fan stalls or fails completely, HD OMNI continues to operate normally, but the Monitor LCD displays “FANerr” and the backlighting changes to red. To set the Fan Control setting: 1 Enter SETUP mode. The SETUP LED lights green. 2 Turn the MONITOR encoder until the display shows “FAN.
5 Press the MONITOR encoder button to select 4 Do one of the following: the displayed option. The version number for the selected option is shown in the display. • Press the MONITOR encoder button again to confirm RESET. 6 Press SETUP button to exit the current view – or – and return to VER. • Press the SETUP button to cancel the factory reset. 7 Repeat steps 4–6 to view the versions of the other options. 5 Exit SETUP mode.
appendix a Pinout Diagrams for the DB-25 Connectors Analog Output DB-25 AES/EBU DB-25 +4" Analog Outputs 1 2 3 4 5 6 7 8 CH1_HOT CH1_COLD CH1_GND CH2_HOT CH2_COLD CH2_GND CH3_HOT CH3_COLD CH3_GND CH4_HOT CH4_COLD CH4_GND CH5_HOT CH5_COLD CH5_GND CH6_HOT CH6_COLD CH6_GND CH7_HOT CH7_COLD CH7_GND CH8_HOT CH8_COLD CH8_GND NC_1 MH1 MH2 24 12 25 10 23 11 21 9 22 7 20 8 18 6 19 4 17 5 15 3 16 1 14 2 13 26 27 1-2 RCV 3-4 RCV 5-6 RCV 7-8 RCV 1-2 XMT 3-4 XMT 5-6 XMT 7-8 XMT CH12_RCV_HOT CH12_RCV_COLD CH12_RC
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appendix b Sound Pressure Level Display Calibration To properly calibrate the analog speaker outputs, the you will need to first use OUTRIM mode and an SPL meter. After each speaker output has been properly trimmed and calibrated to an SPL value, use the SPL Display Calibration to set the SPL value to match the level that was calibrated in OUTRIM mode. For example, to calibrate a 5.
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).
appendix c Compliance Information Environmental Compliance Disposal of Waste Equipment by Users in the European Union Proposition 65 Warning This product contains chemicals, including lead, known to the State of California to cause cancer and birth defects or other reproductive harm. Wash hands after handling. Perchlorate Notice This product may contain a lithium coin battery.
EMC (Electromagnetic Compliance) Australian Compliance Avid declares that this product complies with the following standards regulating emissions and immunity: • FCC Part 15 Class A • EN55103-1 E4 • EN55103-2 E4 • AS/NZS 3548 Class A • CISPR 22 Class A Canadian Compliance FCC Compliance for United States This Class A digital apparatus complies with Canadian ICES-003 Radio and Television Interference This equipment has been tested and found to comply with the limits for a Class A digital device, pursua
Important Safety Instructions 1) Read these 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, use caution when moving the cart/equipment combination to avoid injury from tip-over. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 5) Do not use this equipment near water. 6) Clean only with dry cloth.
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index Numerics 2.
Fold Down If Control Room Is Larger Than Stereo 33 Fold Down options 32 Fold Down Without LFE (If Present) 33 H Hardware Setup 23 Analog Out page 26 Clock Source 24 configuring 23 Digital Format 24 digital input format 24 Ext.
O Optical (ADAT) 24 about Lightpipe-compatible devices 13 Optical (S/PDIF) 13 Hardware Setup 24 Optical (TOSLINK) input and output 13 Optical Output Format 24 OUTRIM mode 53 SPL Display Calibration (SPLCAL) control 47 studio connections 20 Sync Mode LEDs 7 synchronization word clock ports 15 system requirements 2 T P PAD 6 PAD button 6 Phase Invert button 7 Pinout Diagrams 51 Power Switch 5 Preamp Controls 6 PREAMP Display 7 PREAMP Encoder 7 PRIMARY PORT (DigiLink Mini) 13 Pro Tools Hardware Setup 23 I/O
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Avid Technical Support (USA) Product Information 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
