![]() HDX systems are capable of running at extremely low latencies thanks to the DSP cards they use, but an often–overlooked fact is that A–D and D–A converters impose their own latency, independently of that caused by the combination of a computer and interface. One final issue to be aware of concerns latency. Some interfaces offer more headphone outputs than others, say, while some offer a greater number of mic preamps (some, like those on the Apogee Symphony I/O, are even remotely controllable). Given that they all perform well, though, perhaps a bigger reason lies in the differing feature sets. People will almost always express a preference for the sound of one converter over another, and while pretty much all HDX–compatible interfaces are of a high standard - it is, after all, an expensive, ‘professional’ system - great import is often placed on the subtle differences in sonic character imposed by different interfaces. One reason is mentioned not once, but twice, in the name of this very magazine. The question remains, though: why would you opt for one of these ‘unofficial’ interfaces when going down Avid’s preferred route guarantees at least some recourse should tragedy befall your HDX system? Third Party Animal And although such devices are officially ‘unsupported’ by Avid, third–party interface manufacturers do perform rigorous testing themselves, and almost always provide detailed information on which systems and versions of Pro Tools they are known to work well with. Pass The SupportĪlthough the DigiLink and DigiLink Mini connectors are a proprietary Avid protocol, many third–party manufacturers make interfaces that use them.The operative word there, though, is ‘officially’: there are now many companies making converters and interfaces that, while not explicitly sanctioned by Avid, either sport, or can be made to sport (via expansion cards), an Avid DigiLink or Mini DigiLink socket, for connection to an HDX or HD Native card. Because Avid only officially support their own interfaces (namely the HD Omni, HD I/O, HD MADI and Pre), they are able to focus all their testing and troubleshooting on just a few devices, unlike other DAWs, which have to be able to cope with interface drivers that have been coded by different companies and with varying degrees of competence. This aspect of Pro Tools HDX has prompted some complaints, but it has the advantage of guaranteed performance and stability: a necessity for professional facilities, where a flaky system could spell disaster in terms of angry clients and lost revenue. Most other DAWs will usually work with a variety of plug–in types (VST or AU being the commonest), while almost all - including the non–HD version of Pro Tools - are quite happy to pipe audio through interfaces from almost any manufacturer, as long as ASIO or Core Audio drivers exist. Control multiple Pro Tools | HD systems from a single transport with the included Satellite Link, or seamlessly connect multiple digital devices with SYNC HD.įor more information on this or any AVID product, visit Pro Tools HDX, like its HD predecessor, has always been a fairly ‘closed’ system: it uses a proprietary plug–in format (AAX), requires an Avid PCIe or Thunderbolt card (either HDX or Native) to run, and is intended - by Avid, at least - to be used with the company’s own A–D/D–A converter interfaces. Upgrade your entire studio or replace an existing audio workstation with ease using Avid’s array of versatile hardware devices. Pro Tools | HDX isn’t just for recording studios-connect the system into any MADI-enabled broadcast, post-production, or live sound environment and experience the lighting-fast workflow of HDX in any facility. Perfect for recording, mixing and monitoring sessions up to 7.1 surround, Avid HDX systems have everything you need to produce professional-sounding projects. ![]() Connect one or more of your favorite Pro Tools | HD series audio interfaces to your core system and record any source with pristine fidelity. And with enough processing power to run all of your favorite third-party plug-ins, Pro Tools | HDX is capable of handling even the most demanding sessions.Īvid HDX Core Cards deliver unprecedented audio clarity, detail and transparency. With Pro Tools | HDX you can mix massive sessions with up to 192 I/O. A single card allows you to work with up to 256 audio tracks, and if that’s not enough you can expand your system with additional cards for up to 768 audio tracks. ![]() Pro Tools | HDX is equipped with enough DSP power to tackle even the largest sessions-from 100-piece orchestras to soundtracks with thousands of clips. ![]()
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