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OMNI I/O
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M-audio OMNI I/O user guide

Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
1. Theory of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
2. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
2.1 Recording Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
2.2 Mixing Section (all balanced/unbalanced on TRS jacks) . . . . . . . . .3
3. What’s In the Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
4. Front, Rear, and Top Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
4.2 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
4.3 Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
5. Operational Basics & Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
5.1 Balanced Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
5.2 Unbalanced Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
5.3 Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
5.4 Sends and Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
5.6 Balanced Cabling & Connections . . . . . . . . . . . . . . . . . . . . . . . . . . .9
5.7 Unbalalanced Cabling & Connections . . . . . . . . . . . . . . . . . . . . . . .9
5.8 Stereo Input and Insert Cables/Connections . . . . . . . . . . . . . . . . . .10
5.9 Line Levels vs. Mic/Instr Levels . . . . . . . . . . . . . . . . . . . . . . . . . . .10
5.10 Virtual Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
6. Basic Playback Setup for the Omni I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
7. Basic Recording Setup for the Omni I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
8. Omni Signal Flow Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
9. Sequencing and the Omni I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
9.1 MIDI Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
9.2 Setting MIDI Playback Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
10. Recording Audio to the Delta 44 or 66 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
10.1 Monitoring the Signals You Are Recording . . . . . . . . . . . . . . . . .20
10.2 Monitoring the Record Inputs Using ASIO or EASI . . . . . . . . . .22
10.3 Setting Record Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
10.4 Record Levels Using the Inserts . . . . . . . . . . . . . . . . . . . . . . . . . .23
10.5 Setting the Audio Track Playback Levels . . . . . . . . . . . . . . . . . . .24
10.6 Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
10.7 Recording Your MIDI Instruments as Audio Tracks . . . . . . . . . . .25
11. Mixing With the Omni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
11.1 Organizing the Audio Tracks for Mixing . . . . . . . . . . . . . . . . . . .27
11.2 Using the Direct Outs 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
12. Alternate Omni Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
12.1 Recording with Four Pre-Amps . . . . . . . . . . . . . . . . . . . . . . . . . .28
12.2 Monitoring While Recording to Four Tracks . . . . . . . . . . . . . . . .28
12.3 Recording Four Line Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
12.4 Recording FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
12.5 Submixing MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Limited Lifetime Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Introduction
Congratulations on your purchase of the Omni I/O Integrated Desktop Audio Station, designed and manufactured by M Audio. The Omni I/O is a “front end” companion to the Delta 66 or Delta 44 by M Audio, offering you truly professional options for both recording to and monitoring from your Delta Series audio card.
Please read this manual to familiarize yourself with the Omni I/O and its features, and to understand how you can make the versatility of the Omni I/O work best for you. Before connecting the Omni I/O, you must install your Delta 44 or Delta 66 card, carefully following the procedure found in the manual for your Delta card.
1. Theory of Operation
Arecording console performs two functions. It routes the signal you are about to record, providing the ability to pre-amplify and shape that signal before it gets to the recording device. At the same time, it handles all playback, allowing you to mix, add an effect, and monitor your recorded signal as well as “virtual” MIDI keyboard tracks.
The Omni I/O performs these tasks. The Omni, in conjunction with a Delta 44 or Delta 66 PCI Interface and your PC or Macintosh computer, adds the functionality of a recording console in a desktop unit. The Omni I/O is modeled after what is known as a “split console” design, where the recording and monitoring sections function independently.
Two high quality M Audio Mic/Instrument pre-amps are routed to the Delta’s analog inputs 1 & 2. The level that you record is controlled by the Omni pre­amp’s independent gain controls in conjunction with the +4/-10 operating level that you select in the Delta Control Panel. An insert jack added to the record path allows you to process the signal with outboard gear, should you choose to. Line inputs 3 & 4 give you a total of 4 direct analog inputs to the Delta card from the Omni.
You’ll use your music software and the Delta Control Panel to make routing selections for recording and monitoring your audio tracks. Audio tracks are routed from the Delta card to a mixer that is built-in to the Omni, which combines the four Delta analog outputs with four auxiliary stereo inputs and one stereo effects return for the equivalent of a 14 channel mixer. One effect send is provided on each of the Delta output’s mixer channels. The aux inputs can be used to monitor MIDI instruments as “virtual” tracks, and then route those instruments to the line inputs for easy recording without repatching. This ultra-quiet Omni mixer, with extremely wide frequency response, gives you
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control room outputs and two headphone outputs, all with independent level controls. A separate “mix” out provides an independent feed to your mixdown deck. Ultimately, your individual and master volume levels will be controlled by your music software and/or Delta Monitor Mixer, and therefore can be saved into the computer’s memory for each recording project.
The Omni I/O takes advantage of computer-based recording and combines it with proven M Audio pre-amp and mixer technology to bring you an extremely powerful desktop recording solution. Incorporate your existing gear, or do all of your sounds and effects right inside the computer. Either way, the Omni I/O can ultimately handle all of your signal flow from tracking to mixdown.
2. Features
2.1 Recording Section
•2 Mic/Inst plus 2 line level balanced/unbalanced analog inputs to the Delta 44 or Delta 66 soundcard.
• The Omni’s two Mic/Inst inputs are equipped with XLR phantom power, insert I/O jacks, individual gain controls, gain reduction “pad” switch, and signal/clip indicator LEDs.
• Low impedance mic inputs provide 66dB of gain and utilize M Audio’s critically acclaimed DMP2 pre-amp technology. They are switchable to hi­impedance instrument inputs with 46dB of gain, ideal for electric/acoustic guitars.
• The Omni Mic/Inst pre-amp has a frequency response of 10Hz to 200kHz, low THD of .0009%, with a dynamic range of 130dB.
• Stereo effect return.
2.2 Mixing Section (all balanced/unbalanced on TRS jacks)
• The Delta analog outputs feed the Omni I/O ultra-quiet mixer, with the addition of 4 stereo aux inputs for MIDI devices and 1 stereo effects return.
• The 4 Delta analog outputs can simultaneously be used as independent balanced/unbalanced direct outs for additional effects sends, alternate mix outputs, or feeds to a secondary mixer.
• Stereo Aux inputs 1 and 2 can be muted in the mixer and re-routed to the Delta line inputs for easy audio recording of MIDI instruments or other auxiliary inputs.
•Mix out for recording to a mix deck.
• Control room outs with independent level control for monitoring.
•Two headphone outputs with individual level controls.
•One mono effect send per Delta channel.
• L/R output signal/clip LEDs.
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3. What’s In the Box
Contained within your Omni I/O package, you will find:
This manual The Omni I/O A 9v AC 500 mA “wall wart” power supply
4. Front, Rear, and Top Panel Descriptions
This section identifies the external connections and controls of the Omni I/O Integrated Desktop Audio Station, with a basic description of their function. More detailed descriptions of the Omni components and the basics of operation follow.
4.1 Front Panel
1. Mic/Instr Inputs 1 & 2: These dual function Neutrik connectors accept either a male XLR plug for the low impedance microphone inputs, or 1/4” TS phone plugs for the high impedance instrument inputs. These are the inputs to the Omni pre-amps.
2. “Pad” Switch: This is a 20dB gain reduction switch. When pressed and locked to the in position, the corresponding mic or instrument signal, whichever is in use at the time, will be trimmed by 20dB. Gain reduction is bypassed when this switch is in the out position.
3. Signal/Clip LEDs: The “Signal” LED, when lit, indicates the presence of a signal at the Mic/Instr Inputs 1 & 2, whichever one is in use. The “Clip” LED will first light when a signal reaches 2dB below clipping.
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4. Gain Controls: The position of these rotary gain controls will determine the amount of microphone or instrument pre-amp gain being applied to the Omni pre-amps (Mic/Instr Inputs 1 & 2). The “U” marking shows a unity gain setting for the high impedance input when the Pad switch is engaged.
5. Channels 1 – 4 Effects Sends: The position of this control determines the amount of level that is sent to the mono effects bus (FX Send) within the Omni mixer circuitry. Effect Sends 1 through 4 are used to add effects processing to the Delta’s H/W Outs 1 through 4.
6. Headphone Controls: The position of these controls determines the amount of listening level that is sent to the respective headphone jack.
7. Headphone Output Jacks: These TRS jacks accept a TRS plugs from standard stereo headphones.
8. Signal/Clip L&R LEDs: These LEDs show the output level of the Omni mixer. The signals shown are pre-monitor and pre-headphone level controls, and therefore are unaffected by these settings. The “Signal” LED shows signal present, while the “Clip” LED begins to light at 2dB below clipping.
9. Monitor Control: The position of this control determines the amount of listening level that is sent to the L&R Monitor Out jacks for control room listening levels.
10. Phantom LED: When lit, this LED indicates that the “Phantom Switch” is engaged and that phantom power is being sent to the XLR jacks.
11. Power Switch and Power LED: Power is enabled on the Omni when the power switch is pressed and locked to the in position. Providing that the proper 9v AC power supply is applied to the Omni, the power LED will light. Power is turned off when the switch is in the out position.
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4.2 Rear Panel
1. 9v AC Power Jack: This jack accepts a 2.5mm plug from a 9vAC, 500 mA power supply, included with the Omni. Use only the proper, AC power supply on the Omni.
2. Direct Outs 1 – 4: These jacks are connected to the Delta H/W Outs 1 through 4, and bypass the Omni mixer. The 1/4” jacks accept TS plugs for unbalanced operation, or TRS for balanced.
3. Phantom Switch: When pressed and locked to the in position, phantom power is engaged and is sent to the XLR microphone inputs. Phantom power is switched off when this button is in the out position.
4. L&R Record (Mix) Outs: The 1/4” jacks accept TS plugs for unbalanced operation or TRS for balanced. The “Record (Mix) Outs” typically feed a stereo mixdown deck. These outputs are pre-Monitor Control level, and are therefore unaffected by changes in “Monitor Control” position.
5. FX Send: This mono send accepts a TS plug for unbalanced operation, or TRS for balanced. The send gets its signal from the position of the “Channel 1-4 Effects Send” controls in relation to the signal present at the Delta H/W Outs 1-4.
6. L&R Monitor Outs: The 1/4” jacks accept TS plugs for unbalanced operation or TRS for balanced. These outputs typically feed a monitoring system. They receive their signal from the stereo bus of the Omni mixer post-Monitor Level control, and are therefore directly affected by the position of the “Monitor Control.”
7. Stereo Aux Ins 1 – 4: These 1/4” jacks accept a TRS plug that is designed to carry the L&R signals from a stereo source, such as a MIDI keyboard or other stereo instrument. Typically, a stereo cable with a TRS plug to L&R mono TS plugs, often called an “insert cable,” will work properly.
8. “To Ins 1, 2” Switch: This switch, when pressed and locked to the in position, will send the stereo signal that is present at the Aux In 1 jack to the Delta H/W In 1 & 2. The Aux In 1 signal is then simultaneously muted to the Omni stereo buss.
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9. “To Ins 3, 4” Switch: This switch, when pressed and locked to the in position, will send the stereo signal that is present at the Aux In 2 jack to the Delta H/W In 3 & 4. The Aux In 2 signal is then simultaneously muted to the Omni stereo buss.
10 Effects (FX) Return: These 1/4” jacks accept TS plugs for unbalanced
operation, or TRS for balanced, and can be used to return the outputs of an effects device to the Omni mixer. One plug can be plugged into the left input for mono operation. When only the left jack used in this mono mode, the signal is directed to the center of the stereo soundfield. When two plugs are used, one in the left input and the other in the right, each is panned hard left and hard right respectively.
11. Line 3 In & Line 4 In: These 1/4” jacks accept TS plugs for unbalanced operation, or TRS for balanced, and are the Omni line inputs to Delta H/W Ins 3&4.
12. 15 pin D-sub Connector: Utilizing the specially made shielded cable that came with the Delta card, the Omni is connected to the Delta card via this 15 pin connector. This cable connects the Omni mic, instrument, and line ins to the Delta H/W Ins 1-4, and the Delta H/W Outs 1-4 to the Omni mixer.
13. Insert 1 & Insert 2: These 1/4” TRS insert jacks access the Mic/Instr signal path for unbalanced signal processing. An “insert cable” should be used, which is a TRS plug to L&R mono TS plugs, where left is the send to the effect and right is the return. Insert 1 is in the signal path of Mic/Instr Input 1, while Insert 2 is in the signal path of Mic/Instr Input 2.
4.3 Top Panel
The rear of the Omni top panel shows a mirror of the back panel, and is labeled “Bottom Row” and “Top Row”. This is for your convenience when patching and unpatching.
The Signal Flow chart on the front left of the Omni top panel gives you a quick guide to how the signal moves in relation to the Omni. Should you need a quick reminder, the flow chart is there for you. Signal flow is dealt with in more depth in the section, “Omni Signal Flow Chart” later in this manual.
5. Operational Basics & Definitions
There are some basic concepts that apply to all audio gear. Understanding them will help in your operation of the Omni I/O, as well as create a set of common terms to use in our discussion of the Omni components.
5.1 Balanced Signals
A “balanced” line runs the signal on two wires of opposing polarity, as a ‘twisted pair’ surrounded by a grounded shield. Doing so, it can send a ‘hotter’ signal over a longer distance with less added noise. Using a TRS (tip-ring-sleeve, or
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stereo) plug on the 1/4” jacks of the Omni (that are designed for unbal/balanced operation) will give you this balanced line—tip positive, ring negative, and sleeve ground. Generally, if the Omni outputs connect to a system or device that accepts a balanced line at +4dB (nominal level) operating level, you should use TRS plugs on the outputs.
XLR connectors also carry a balanced signal. If your device or monitoring system accepts an XLR connector, you may need a cable that has 1/4” TRS to male or female XLR. The mic input of the Omni Mic/Instr Inputs accepts a male XLR, with a balanced mic cable being female XLR to male XLR.
5.2 Unbalanced Signals
An unbalanced line on the Omni outputs connects to a 1/4” TS (tip positive, sleeve ground) plug on a shielded cable with a single conductor, and is appropriate to use when the device you are connecting to accepts a 1/4” TS plug or an RCA plug. Typically, the signal on unbalanced lines has an operating line level of –10dB (nominal level), though this varies somewhat.
You may want to consult the user guide of your sound card or sound system if you’re not sure what type of signal it can accept. If you need to, find a primer on recording or sound reinforcement to learn more about this and the other subjects covered in this manual.
5.3. Phantom Power
Unlike dynamic microphones, large diaphragm condenser microphones need to receive a DC voltage (generally 48v) from an external source before they can generate an output signal. If the condenser mic doesn’t come with its own power supply, then phantom power must be applied from the Omni’s Mic/Instr pre-amps. Pressing the “Phantom” button and engaging phantom power on the Omni will send the necessary voltage to both of the XLR Mic Inputs.
Phantom power will not affect a dynamic mic adversely, so its not a problem to have a dynamic mic at the XLR input while phantom power is switched on. Some ‘ribbon’ microphones (not very common) may be harmed, however, so check you mic’s documentation.
5.4 Sends and Returns
These are sometimes elusive terms, as they can be used in a variety of ways. A “send” is an output from a device (such as a mixing console), to another device (what might be considered ‘outboard’). There is some expectation that the signal that is sent from the send output is going to “return” to the sending device’s signal flow. A return is an input to a device.
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Sends and returns are generally spoken of in terms of the gear that is receiving the signal. The “effects send,” therefore, is an output from the mixer to the effect. The effect’s input receives the signal from the “effects send,” and the output of the effects device returns the signal to the mixer’s input, the “effects return.”
The terms “sends and returns” can apply to other devices, such as a recording device. The outputs of mixing board are “sent” to a tape deck, for instance, and the outputs of the tape deck “return” to the mixing desk’s monitor channels for mixing (often called “tape returns,” though “tape sends” are more often known as the buss outs).
In this same sense, the analog outputs of the Delta card, i.e., Delta H/W Outs 1­4, “return” to the Omni mixer. They could properly be called the “Delta returns to the Omni mixer.”
5.5 Plugs and Jacks
In general, a jack is a female connector, and a plug is a male connector. The jack is mounted within the hardware device, and the plug exists on the cable ends.
XLR jacks and plugs, however, may be male or female. Usually, the output is male, and the input is female.
5.6 Balanced Cabling & Connections
The acronym “TRS” stands for Tip-Ring-Sleeve. A 1/4” TRS plug can carry a balanced mono audio signal over a two-conductor cable with a shield, which applies to certain TRS jacks on the Omni. This may be considered a standard 1/4” “stereo cable,” though it carries a mono, balanced signal.
If you are using one of the Omni jacks for balanced operation, you will need a cable with a 1/4” Tip-Ring-Sleeve plug on one end (for the Omni jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4” TRS plug, an XLR plug, an 1/8” TRS plug, etc.
5.7 Unbalalanced Cabling & Connections
The acronym “TS” stands for Tip-Sleeve. A 1/4” TS plug is found on what is commonly referred to as a “guitar cable.” This is a single conductor cable with a shield, and is generally associated with unbalanced operation.
If you are using one of the Omni jacks for unbalanced operation, you will need a cable with a 1/4” Tip-Sleeve plug on one end (for the Omni jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4” TS plug, an RCA plug, an 1/8” TS plug, etc.
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