Omnia Audio Omnia ONE Operating Manual
Omnia ONE
Stereo Audio Processor
Installation and Operation Manual
Revised: August 2010
Applicable to All Software Styles
Software Version 2.2 or higher
O mn ia ● 1241 Superior Avenue East, Cleveland, Ohio 44114 USA
TEL: +1 216.241.7225 ● FAX: +1 216. 241.4 103 ● www. omn iaa udi o.c om
i
January, 2007
Welcome to Omnia ONE!
I wish to offer my sincere gratitude on behalf of our company and welcome you to Omnia ONE!
This manual was assembled by a dedicated team of specialists who were instrumental in the development of our
newest product, Omnia ONE. This is our next step in the never-ending quest to build the best signal processor in the
world. Considerably more powerful than what its small package implies, Omnia ONE possesses new hardware and
algorithm capabilities that even exceed its predecessors. It is also the first audio processor to incorporate LiveWire
connectivity, enabling linear audio over dedicated networks. It’s the hottest ‘interconnect’ technology in the
professional audio industry today.
Broadcasters require a lot of flexibility in an audio processor because transmission systems exist in many different
forms. The processor you choose must have the tools to meet those needs. Special firmware inside Omnia ONE
allows it to meet the challenges of FM, AM, HD Radio, DAB, DRM, FMing, Podcasting, Netcasting, Satcasting,
and any other form of ‘casting’ you can think of. There’s plenty of power inside its little 1U frame, so don’t let the
size fool you!
It was 1986, in the engineering shop at Z-100, (WHTZ-FM) New York City where our first product was born - The
Vigilante FM Limiter. Twe n t y -one years later and with an incredibly talented team of designers behind it, we offer
you the newest baby in our ever-growing family, Omnia ONE!
Speaking of the team, I wish to offer a sincere and heart-felt thank you to: Rob Dye, Bill Mohat, Ed Zmuginsky,
Mark Manolio, Ted Alexander, David Jablonski,, Betty Ferrell, Marty Greenberg, Steve Kiffmeyer, Denny Sanders,
Marty Sacks, Mike Dosch, Kirk Harnack, Mike Uhl, Jim “Clemenza” Armstrong, Marc Johnson, Milos Nemcik, Ken
Skok and a host of others (as you can see, it’s not just “Frank” anymore!). It’s a great team of people who always
maintain one goal in their minds…keep raising the bar!
Steve Church, my partner in crime and founder of Telos, first introduced DSP technology to broadcasting in 1985.
Our team of DSP gurus is the finest in the audio industry. Our own specialized DSP ingenuity has been
tremendously beneficial to Omnia’s development.
You have in your p ossession a n i ncredible audio processor. Also, you have the full support of our entire
organization standing behind the product. If you have feedback, or even a new idea, we’re here to listen! Customers,
like you, offer us valuable feedback. After all, it’s feedback like yours that helped us introduce the original
Omnia.FM, and then take the industry by storm. Our quest today, just as it has been all along, is to continue to be the
audio processing brand leader.
To borrow a phrase from my old stomping grounds, Z-100 in New York City, Omnia went from worst to first in the
minds and ears of radio broadcasters. We are honored, equally humbled to say the least, and grateful to you, our
customers, for helping us make that happen! Omnia processors have been installed by tens of thousands of
broadcasters throughout the world, and I am overwhelmed when I look at the list of our end-users. So, it’s to you,
our loyal customers and friends, that I say Thank You!
To Great Sounding Audio…the World over!
Frank Foti
President, Omnia Audio
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iii
Omnia ONE Quick-Start Setup
We know that you’re probably in a hurry to begin using your new Omnia ONE. If you have technical expertise and
previous knowledge of audio processor fundamentals, using our Ten-Point Quick-Start will get you up and running as
quickly as possible. Please refer to the remainder of the Operating Guide for additional installation and setup information.
Refer to the following illustration for the location of the various controls and connectors associated with the installation:
Headphone Jack Headphone Level Control Jog Wheel
Main Menu / G/R Metering LCD Display Level Meters
1. Install the Omnia ONE in the equipment rack using at least two rack screws. If only two screws are used, they MUST
be installed in the bottom holes of the rack ears!
2. Connect AC power to the unit (there is no power switch!)
3. Connect the audio inputs that are appropriate for your installation.
4. Navigate to the Input/Output / Meter Select setting and select Input.
5. Navigate to the Input/Output / Input / Input Src setting and select the Analog, AES/EBU or Livewire input as
appropriate for your installation. If your audio source is providing an audio feed you should then see meter activity on
the LED bargraph meters.
6. While driving the inputs with typical program material at normal operating level, navigate back up to the Input/Output
/ Input menu (by highlighting and clicking on the “<-EXIT” option) and adjust the appropriate input Level control
until the peak-reading input bargraph meters are peaking up to at least –15 and up to –12 dBFS or a little higher.
7. Connect the audio outputs in a manner that is appropriate for your installation.
8. (FM Only) Navigate t o the Inp ut/Output / Output / FM Options submenu and ensure that the Pre-Emphasis, De-
emphasis and BS-412 settings are correct for your system and your location.
(AM Onl y) Navigate to the Input/Output / Output / AM Options submenu and e nsure that the Output Polarities, LPF
Frequency and Tilt adjustments are correct for your system and your location.
9. Navigate to the Input/Output / Output menu (All Styles) or Stereo Generator menu (FM Only) and adjust the
appropriate control so that the output level is correct for the equipment that follows the Omnia ONE.
10. Navigate back to the Main Menu, highlight Preset: and click. Rotate the jog wheel to display the preset you would
like to start with and click to select it.
The Omnia ONE Quick-Start Setup is now complete. Please read on to learn about some of the features that make the
Omnia ONE unique and for full details on proper installation and the operation of every control function.
iv
Table Of Contents
Welcome to Omnia ONE! ........................................................................................................... i
Omnia ONE Quick-Start Setup .................................................................................................. iii
S A F E T Y I N S T R U C T I O N S .................................................................................... ix
HAZARD / WARNING LABELS ................................................................................................x
Manual Update Notification....................................................................................................... xii
Chapter-1: Installation ..................................................................................................................1
Pre-Installation Tasks ............................................................................................................1
About This Manual ................................................................................................................1
Omnia ONE Components......................................................................................................1
AC Power Environment ........................................................................................................1
Installation & Connections ...................................................................................................2
Rack Mounting & Grounding ............................................................................................. 2
AC Mains Power ................................................................................................................. 2
Rear Panel Connections ........................................................................................................3
Analog Audio Inputs and Outputs ...................................................................................... 3
A Note About Relative Phase: ............................................................................................ 3
Stereo Generator Connections (FM Style Only) ................................................................. 3
Composite Outputs 1 & 2 (BNC) (Active on FM Style Only) ........................................3
19 kHz Sync Output (BNC) (Active on FM Style Only).................................................4
SCA Input (BNC) (Active on FM Style Only) ................................................................4
Ethernet / Livewire Connection .......................................................................................... 5
RS-232 Modem Connection (DB-9M)* ............................................................................. 5
General Purpose Interface (GPI) (DB-9F)* ........................................................................ 6
Powering Up ...........................................................................................................................6
Chapter-2: Getting To Know Your Omnia ONE........................................................................7
The Omnia ONE User Interface ...........................................................................................7
Headphone Level Control ................................................................................................... 7
Level Meters & Processing Bargraphs ............................................................................... 7
Audio I/O Level Display ..................................................................................................... 8
Processing Meter Display ................................................................................................... 8
Main Menu .......................................................................................................................... 9
Using the Jog Wheel ......................................................................................................... 10
User Interface Tutorial – Input Source Selection and Peak Level Setting ....................... 11
Proper Setting of Input Levels .......................................................................................11
An Important Word about Time Delay .............................................................................12
Chapter-3: Getting the Sound You Want ..................................................................................13
FM Style ................................................................................................................................13
The Factory Presets ........................................................................................................... 13
Increasing Density/Loudness ............................................................................................ 14
Adding More Detail — When Loudness Isn’t the Last Word .......................................... 15
Air-Sound Equalization Changes ...................................................................................... 15
Thunder Bass .................................................................................................................... 16
v
AM Style ...............................................................................................................................17
Using Omnia ONE AM with Early PWM Transmitters ................................................... 17
The Factory Presets ........................................................................................................... 17
Increasing Density/Loudness ............................................................................................ 19
Adding More Detail — When Loudness Isn’t the Last Word .......................................... 19
Air-Sound Equalization Changes ...................................................................................... 20
Thunder Bass .................................................................................................................... 20
Multicast/DAB Style ............................................................................................................21
Purpose .............................................................................................................................. 21
Sensus Technology: Audio Processingx3 .................................................................... 21
Overview ........................................................................................................................21
Codec Provisioning ........................................................................................................21
Omnia ONE Multicast and HD Radio ........................................................................22
So… what’s so smart about Sensus? ..........................................................................22
Loudness Processing and Codecs ..................................................................................... 23
A Word About Density, Clarity, and Intelligibility .......................................................... 23
Quality Versus Density ..................................................................................................... 23
Increasing Density/Loudness ............................................................................................ 24
Adding More Detail—When Loudness Isn’t the Last Word ............................................ 25
Equalization (EQ) Changes ............................................................................................... 25
Thunder Bass .................................................................................................................... 26
Coded Audio Considerations ............................................................................................ 26
Studio Pro Style ....................................................................................................................27
Purpose .............................................................................................................................. 27
Delay Throughput ............................................................................................................. 27
Equalization (EQ) Changes ............................................................................................... 27
Presets ............................................................................................................................... 28
Bass Enhancement ............................................................................................................ 28
Chapter-4: Main Menu Selections ..............................................................................................29
Preset ........................................................................................................................................ 29
Processing ................................................................................................................................ 29
Save Preset ............................................................................................................................30
Delete Preset .........................................................................................................................30
Rename Preset ......................................................................................................................31
<-Exit ................................................................................................................................ 31
Adjust Processing .................................................................................................................31
FM Style ........................................................................................................................... 32
<-Exit .............................................................................................................................32
Pre-processing ................................................................................................................33
Wideband AGC (Automatic Gain Control) ...................................................................33
Enhancers .......................................................................................................................34
Xover (Crossover) ..........................................................................................................35
Low Band AGC .............................................................................................................36
Mid Band AGC ..............................................................................................................36
Pres Band AGC (Presence Band AGC) .........................................................................36
High Band AGC .............................................................................................................36
Low Band Limiter ..........................................................................................................37
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Mid Band Limiter ..........................................................................................................38
Presence Band Limiter ...................................................................................................38
High Band Limiter .........................................................................................................38
Bass Clipper ...................................................................................................................38
Mixer ..............................................................................................................................39
Clipper............................................................................................................................40
AM Style .......................................................................................................................... 41
Pre-processing ................................................................................................................42
Wideband AGC (Automatic Gain Control) ...................................................................42
Enhancers .......................................................................................................................43
Xover (Crossover) ..........................................................................................................44
Low Band AGC .............................................................................................................45
Mid Band AGC ..............................................................................................................45
Pres Band AGC (Presence Band AGC) .........................................................................45
High Band AGC .............................................................................................................46
Low Band Limiter ..........................................................................................................46
Mid Band Limiter ..........................................................................................................47
Presence Band Limiter ...................................................................................................47
High Band Limiter .........................................................................................................47
Bass Clipper ...................................................................................................................47
Mixer ..............................................................................................................................48
Clipper............................................................................................................................49
<-Exit .............................................................................................................................49
Multicast/DAB Style ....................................................................................................... 50
<-Exit .............................................................................................................................51
Pre-processing ................................................................................................................51
Wideband AGC (Automatic Gain Control) ...................................................................51
Enhancers .......................................................................................................................52
Xover (Crossover) ..........................................................................................................53
Low Band AGC .............................................................................................................54
Mid Band AGC ..............................................................................................................54
Pres Band AGC (Presence Band AGC) .........................................................................54
High Band AGC .............................................................................................................54
Low Band Limiter ..........................................................................................................55
Mid Band Limiter ..........................................................................................................55
Presence Band Limiter ...................................................................................................56
High Band Limiter .........................................................................................................56
Bass Clipper ...................................................................................................................56
Mixer ..............................................................................................................................57
Sensus .........................................................................................................................57
Final Limit .....................................................................................................................58
<-Exit .............................................................................................................................59
vii
Studio Pro Style ............................................................................................................... 60
<-Exit .............................................................................................................................60
Pre-processing ................................................................................................................60
Wideband AGC (Automatic Gain Control) ...................................................................60
Enhancers .......................................................................................................................61
Xover (Crossover) ..........................................................................................................62
Low Band AGC .............................................................................................................63
Mid Band AGC ..............................................................................................................64
Pres Band AGC (Presence Band AGC) .........................................................................64
High Band AGC .............................................................................................................64
Low Band Limiter ..........................................................................................................64
Mid Band Limiter ..........................................................................................................65
Presence Band Limiter ...................................................................................................65
High Band Limiter .........................................................................................................65
Bass Clipper ...................................................................................................................65
Mixer ..............................................................................................................................66
Final Limit .....................................................................................................................67
<-Exit .............................................................................................................................67
Input/Output ........................................................................................................................69
Mtr Select (Meter Select) .................................................................................................. 69
Input .................................................................................................................................. 69
Output ............................................................................................................................... 71
FM Options (FM Style Only) ........................................................................................72
AM Options (AM Style Only) .......................................................................................74
Livewire ............................................................................................................................ 77
Stereo Generator (FM Style Only) .................................................................................... 77
Bypass ............................................................................................................................... 78
Save IO Config ................................................................................................................. 79
Load IO Config ................................................................................................................. 79
Delete IO Config ............................................................................................................... 80
Rename IO Config ............................................................................................................ 80
<-Exit ................................................................................................................................ 80
Administrative ......................................................................................................................80
About................................................................................................................................. 80
Contrast ............................................................................................................................. 80
Network Configuration ..................................................................................................... 80
Reboot ............................................................................................................................... 81
Security ............................................................................................................................. 81
<-Exit ................................................................................................................................ 81
Lock Front Panel..................................................................................................................82
Unlocking the Front Panel ................................................................................................ 82
viii
Appendix A: Performance Specifications ..................................................................................83
Omnia ONE FM ...................................................................................................................... 83
Omnia ONE AM ..................................................................................................................... 87
Omnia ONE Multicast/DAB & Studio Pro........................................................................... 90
Appendix B: Troubleshooting/Service/Warranty .....................................................................93
Diagnostics and Error Messages.........................................................................................94
Electrical and mechanical safety note! ...............................................................................95
Narrowing down problems .................................................................................................95
Obtaining Service .................................................................................................................96
Via the World Wide Web ................................................................................................. 96
Via E-Mail ........................................................................................................................ 96
Via Phone & Mail (USA and non-European Countries) .................................................. 96
Warranty ..............................................................................................................................97
Appendix C: Remote Control and Software Update Procedure ............................................99
Remote Control ....................................................................................................................99
Remote ............................................................................................................................ 100
Preset Tab.....................................................................................................................101
Processing Tab .............................................................................................................101
In Tab ...........................................................................................................................102
Out Tab ........................................................................................................................103
IO Tab ..........................................................................................................................103
Encode Tab (FM Style Only) .......................................................................................103
Livewire .......................................................................................................................... 104
File Transfer .................................................................................................................... 105
Preset File Transfer ......................................................................................................105
I/O Configuration File Transfer ...................................................................................106
Trigger Scripts ................................................................................................................ 106
Software Update Procedure ..............................................................................................107
Special Notes: ................................................................................................................. 107
ix
S A F E T Y I N S T R U C T I O N S
1. Read All Instructions. All safety and operating
instructions must be read before operating the
product.
2. Retain All Instructions. All safety and operating
instructions must be retained for future reference.
3. Heed All Warnings. All warnings on the product
and those listed in the operating instructions must
be adhered to.
4. Follow All Instructions. All operating and product
usage instructions must be followed.
5. H ea t. This product must be situated away from any
heat sources such as radiators, heat registers, stoves,
or other products (including power amplifiers) that
produce heat.
6. Ventilation. Slots and openings in the product are
provided for ventilation. They ensure reliable
operations of the product, keeping it from
overheating. These openings must not be blocked
nor covered during operation. This product should
not be placed into a rack unless proper ventilation is
provided through following the manufacturer's
installation procedures.
7. Water and Moisture. Do not use this product near
water – for example; near a bath tub, wash bowl,
ki tc he n si nk o r laundry tub; in a wet basement; or
near a swimming pool or the like.
8. Attachments. Do not use any attachments not
recommended by the product manufacturer as they
may cause hazards.
9. P ow er So ur c es . This product must be operated from
the type of power source indicated on the marking
label and in the installation instructions. If you are
not sure of the type of power supplied to your
facility, consult your local power company.
10. Gr oun din g a nd Pol ari zat ion . This product is equipped
with a polarized AC plug with integral safety
ground pin. Do not defeat the safety ground in any
manner.
11. Po wer Cord Prote cti on. Power supply cords must be
routed so that they are not likely to be walked on
nor pinched by items placed upon or against them.
Pay particular attention to the cords at AC wall
plugs and convenience receptacles, and at the point
where the cord connects to the product.
12. Lightning. For added protection for this product
during a lightning storm, or when it is left
unattended and unused for long periods of time,
unplug it from the AC wall outlet. This will prevent
damage to the product due to lightning and power
supply surges.
13. Overloading. Do not overload AC wall outlets,
extension cords, or integral convenience outlets as
this can result in a fire or electric shock hazard.
14. Object and Liquid Entry. Never push objects of any
kind into this product through openings as they may
touch dangerous voltage points or short out parts
that could result in a fire or electric shock. Never spill
liquid of any kind into the product.
15. Accessories. Do not place this product on an unstable
cart, stand, tripod, bracket, or table. The product
may fall, causing serious damage to a child or adult,
and serious damage to the product. Any mounting of
the product needs to follow manufacturer's
installation recommendations.
16. A Pro duc t an d C art Co mbi nat ion should be moved with
care. Quick stops, excessive force, and uneven
surfaces may cause the product and the cart
combination to overturn.
17. Servicing. Refer all servicing of the product to
qualified service personnel.
18. D am ag e R eq u ir in g S er v ic e. Unplug this product from
the AC wall outlet and refer servicing to qualified
service personnel under the following conditions:
• When the AC plug is damaged.
• If liquid has been spilled or objects have fallen into
the equipment.
• If the product has been exposed to rain or moisture.
• If the product does not operate normally (following
operating instructions).
• If the product has been dropped or damaged in any
way.
• When the product exhibits a distinct chang e in
performance. This indicates a need for service.
19. R ep la c em en t P ar ts . When replacement parts are
required, be sure the service technician has used
replacement parts specified by the manufacturer or
that have the same characteristics as the original
parts. Unauthorized substitutions may result in fire,
electric shock, or other hazards.
20. Safety Check. Upon completion of any repairs to this
product, ask the service technician to perform safety
checks to determine that the product is in safe
operating condition.
21. Cleaning. Do not use liquid cleaners or aerosol
cleaners. Use only a damp cloth for cleaning.
x
HAZARD / WARNING LABELS
The Exclamation Point symbol, within an equilateral triangle, alerts the user to the
presence of important operating and maintenance (servicing) instructions in product
literature and instruction manuals.
The Lightning Flash With Arrowhead symbol, within an equilateral triangle, alerts
the user to the presence of non-insulated dangerous voltages within the product's
enclosure that may be of sufficient magnitude to constitute a risk of electric shock.
WARNING -- This equipment generates, uses, and can radiate radio frequency energy. If not
installed and used in accordance with the instructions in this manual it may cause interference to
radio communications. The device has been formally submitted for testing and found to comply
with the limits for a Class B computing device (pursuant to subpart J of Part 15 FCC Rules) and
has been designed to provide reasonable protection against such interference when operated in a
commercial environment. Operation of this equipment in a residential area may cause
interference, and the user and at his expense will be required to take any measures required to
correct interference.
CANADA WARNING – This digital apparatus does not exceed the Class B limits for radio
noise emissions set out in the Radio Interference Regulations of the Canadian Department of
Communications. Le present appareil numerique n'emet pas de bruits radioelectriques depassant
les limits applicables aux brouillage radioelectrique edicte par le ministere des Communications
de Canada.
xi
CE CONFORMANCE – This device complies with the requirements of the EEC Council
Directives: 93/68/EEC (CE Marking); 73/23/EEC (Safety – low voltage directive); 89/336/EEC
(electromagnetic compatibility). Conformity is declared to those standards: EN50081-1,
EN50082-1.
LITHIUM BATTERY CAUTION – There is a danger of explosion if the internal
battery is replaced incorrectly or shorted. Replace the battery only with same or
equivalent type recommended by the manufacturer. Dispose of used batteries
according to the manufacturer's instructions.
USE OF SHIELDED CABLING – In order to conform to the CE requirements for
High Frequency radiation, shielded cables must be used for all audio and data
connections.
NOTE: When the unit is operated in an extremely high RF environment, it may be
helpful to connect cable shields to the XLR-connector terminal that connects cable
shield to chassis ground, not to pin 1. Additionally, a 0.01uF capacitor connected
between XLR pin-1 and the chassis terminal may be helpful in some instances.
RoHS COMPLIANCE – The RoHS Directive stands for "the restriction of the use of certain
hazardous substances in electrical and electronic equipment". This Directive bans the placing on
the European market of new electrical and electronic equipment containing more than agreed
levels of lead, cadmium, mercury, hexavalent chromium, polybrominated biphenyl (PBB) and
polybrominated diphenyl ether (PBDE) flame retardants. Omnia ONE FM is in compliance with
the EU RoHS Directive.
xii
Manual Update Notification
Audio Processing – a unique art form that we take very seriously!
As part of our dedication to the science of audio processing we will continue to improve and
update the Omnia product and its documentation based on our ongoing research, real-world field
experience, and the valued input from our many thousands of loyal customers.
We strongly encourage our customers to visit our Omnia website for product enhancement
announcements, software updates, updated user manuals, and customer support bulletins.
The following URLs have been included for your convenience:
Manual Updates
http://www.omniaaudio.com/support/manuals.htm
Frequently Asked Questions (FAQ)
http://www.omniaaudio.com/support/faq.htm
Tech Tips & Support Bulletins
http://www.omniaaudio.com/tech/tips.htm
Software Upgrades & Remote Software
http://www.omniaaudio.com/support/updates.htm
White Papers & Technical Discussions
http://www.omniaaudio.com/tech/default.htm
1
Chapter-1: Installation
Pre-Installation Tasks
Please take a few minutes to read through this chapter before proceeding with the installation. This section offers
common procedures for installing your new Omnia ONE processor.
About This Manual
This manual is now written to cover all 4 styles of the Omnia ONE. This chapter will cover o n ly general installation
topics. Topics unique to a specific style are covered in style-specific sections within Chapters 3 and 4. The latest
version of this manual is always available for download from the Omnia website here:
http://www.omniaaudio.com/support/manuals.htm
Omnia ONE Components
By now, you’ve unpacked the shipping carton to gain access to this manual. Now is the time to inspect the Omnia
ONE unit and its shipping carton for any signs of shipping damage. Such damage must be reported to your carrier
for any claims. The Omnia ONE shipping box includes the following components:
Omnia ONE processor.
Omnia ONE Operating Manual.
Warranty Registration Card. (Please complete the form and return/FAX it to Telos/Omnia)
Two IEC Power Cords, one of the USA/Canada style, and one of the Euro style.
One each Male and Female XLR to StudioHUB RJ45 adaptor cables.
AC Power Environment
The Omnia ONE subsystem is a DSP-based microcomputer, and therefore requires reasonably clean AC power, just
as any modern computer system does. And even though the Omnia ONE power supply is equipped with robust AC
transient suppression, we recommend that an “online” style (non-switching type) Uninterruptible Power Supply
(UPS) with transie nt surge suppression be employed.
At transmitter sites there can be heavy transients on the power lines as well as significant surges introduced into the
power system by frequent lighting strikes. These are unwelcome power line events and can damage even the most
robust equipment. Therefore you should give the AC power environment and installation practices thorough
consideration before plugging in the O mnia ONE (or any other microcomputer-based equipment).
A White Paper by one of our Support Engineers can be found on the Telos Systems website at the URL listed below.
It details proper grounding and contains links to some surge suppression products for both the power mains and the
often-neglected telephone, Ethernet and ISDN line connections that can (and do) conduct powerful surges into the
equipment.
http://www.telos-systems.com/techtalk/surge.htm
2
Installation & Connections
Rack Mounting & Grounding
The Omnia ONE requires one RU (1.75" [44.45 mm]) of rack space. Rack mount the unit using four rack screws. If
only two screws are going to be used, they should be in the bottom holes in the Omnia front panel. No other twoscrew mounting arrangement will prevent distortion of the front panel!
Adequate ventilation should be provided, and it is always good engineering practice to allow one blank rack space
immediately above and below the Omnia, especially if equipment generating significant heat is located below the
unit. You may install 1RU (1.75") vented or solid rack panels to fill these spaces.
The processor should be installed into a properly grounded 19" equipment rack.
It is a good idea, especially at transmitter sites, to run a separate ground strap or braid from the Omnia ONE’s
chassis to a solid rack or station ground point. Although no separate ground lug is provided, the end of the strap or
braid can be clamped under the Omnia’s top cover using the Omnia’s existing top cover screws.
AC Mains Power
AC Power Connection
Omnia ONE utilizes an un-switched EMI-filtered IEC power-entry module.
Omnia ONE’s automatic voltage–sensing, high-efficiency switching power supply allows it to operate on AC mains
voltages from 100 to 240 VAC and from source frequencies of either 50 or 60 Hz.
In the USA or Canada, plug the provided IEC type AC power cord into the unit and then into a grounded AC outlet.
Outside of the USA you must use the appropriate power cord that complies with local electrical regulations.
After power is first applied to the Omnia ONE, the LCD screen, the “in” and “out” LED’s and the rightmost
segments of the LED bargraph meters should light.
After about 20 seconds the LCD screen should show “Omnia ONE” and at about 30 seconds the Main Menu should
appear. Once the Main Menu appears the unit is ready for use.
3
Rear Panel Connections
Analog Audio Inputs and Outputs
Balanced XLR-type connectors are used for the analog audio. Both analog and digital input sources may be
connected simultaneously, however, only the input source that has been selected is active. Analog/Digital/Livewire
Input source selection is done through the “Input Src” (Input Source) software parameter setting in the Input
submenu of the Input/Output menu.
All outputs are active simultaneously.
The stereo analog inputs Individual Left and Right
are designed for standard analog outputs are available
+4dBu balanced signals. on two male XLR jacks.
Pin 2 is Hot. Pin 2 is Hot.
A Note about Relative Phase:
If the relative phase of your installation (including the Omnia ONE) differs fro m tha t o f your existing sys tem, your
anno uncers may fee l that they sound “weird” in their head phones. If this occurs, then the relative phase of the
processor is 180 degrees from what your air talent is used to. To remedy this, you can either reverse the polarity of
both of the analog inputs or simply change the “Invert” setting to [Both] in the Input submenu of the
Input/Output m e n u.
Stereo Generator Connections (FM Style Only)
Four standard female BNC connectors comprise the Omnia ONE’s stereo generator connections.
There are two composite MPX outputs with independent software level controls, one SCA input with level adjust
trimpot and one 19 kHz pilot sync output.
Composite Outputs 1 & 2 (BNC) (Active on FM Style Only)
These two low impedance outputs (Composite 1 and Composite 2) are each capable of driving up to 100 feet of
RG-58A/U coax cable. The output levels are individually adjustable so the unit can operate as a “composite
DA” to drive a variety of equipment. The output levels and other stereo generator settings are set through
4
software parameters in the Stereo Generator submenu of the Input/Output menu. An internal jumper sets the
output impedance to either 5 ohms (the factory setting) or 75 ohms. The default setting is appropriate for the
vast majority of exciter connections. However, in the event that a higher source impedance is required, a jumper
can be moved (one for each composite output) on the motherboard to change the source impedance to 75 ohms .
For reference, JP10 is for Composite #1, and JP9 is for Composite #2.
19 kHz Sync Output (BNC) (Active on FM Style Only)
This TTL-level 19 kHz square wave output can be used as the reference signal for mo s t RDS or SCA generators
that operate at 57 kHz or other multiple of the 19 kHz pilot frequency. This Sync output is phase and frequency
locked to the stereo pilot. When this signal is used to synchronize an external SCA or RDS generator, this
locking assures that no difference frequencies exist which may cause intermodulation components between the
pilot and the SCA signal.
SCA Input (BNC) (Active on FM Style Only)
Any SCA or RDS signal above 53 kHz can be added to the composite outputs of the Omnia ONE by connecting
the signal to the SCA INPUT connector. The SCA signal is mixed in the analog domain directly into both
composite outputs. A high-pass filter on the SCA input provides SCA to main-channel crosstalk protection. The
SCA injection level can be adjusted using the Gain trimpot. See Page 77 for details.
AES/EBU Digital Input, AES/EBU External Sync Input, and AES/EBU Output
(GREEN Male XLR)
(GREEN Female XLR)
(RED Female XLR)
The digital AES/EBU (AES-3) inputs (IN and EXT. SYNC) use industry-familiar RJ-45 connectors and utilize the
StudioHUB+ wiring standard1. They accept any sampling rate between 32kHz and 96kHz. No user adjustment of the
sample rate is necessary on the AES-3 input as a high-quality digital sample rate converter is built in.
There is one AES-3 output on a standard RJ-45 connector that provides either an internally generated output sample
rate of 48 kHz or the sample rate can be locked to an external AES/EBU signal applied to pins 3 & 6 of the the AES
IN / SYNC IN connector or to the AES/EBU input signal. These options are selectable using the “Samp. Rate”
setting in the Output submenu of the Input/Output menu.
Note: The analog and digital outputs are active simultaneously.
1
More information about the StudioHUB+ wiring scheme can be found at: http://www.studiohub.com/
For your convenience, two XLR adaptor cables are supplied with the unit. The male XLR lead with the GREEN
shrink tubing is used for AES OUT. The male XLR lead with the RED shrink tubing is not used.
The female XLR lead with the GREEN shrink tubing is used for AES IN and the female XLR lead with the RED
shrink tubing is used for AES EXTERNAL SYNC IN.
5
Ethernet / Livewire Connection
The RJ-45 10BaseT / 100BaseT Ethernet / Livewire
I/O jack can be used simultaneously for both
TCP/IP based remote control of your Omnia ONE
and audio input/output to your existing Livewire
network.
Ethernet 10BaseT/100BaseT Remote and Livewire I/O
RS-232 Modem Connection (DB-9M)*
This DB 9-male connector can be used to connect an external dialup modem for a bi-directional computer remote
control connection.
1
NOTE: This connector is for a remote control external modem connection only. Please see Appendix B for
information on how to use a terminal program along with an internal RS-232 connector for troubleshooting
purposes.
RS-232 Modem Port
NOTE: You must use a standard straight-through serial cable and not a null modem cable when connecting the RS-
232 connector of the Omnia and the external modem. Typically this would be 9-pin to 25-pin cable. (External
mode ms traditio nally have 25 pin co nnectors in "DCE" co nfiguration. The Omnia ONE has a 9 pin in "DTE"
configuration, so the standard 9-pin to 25-pin cable will wo rk ).
1
The setup and operation of the Omnia Remote Control application is covered in detail in Appendix C.
*Please note that the RS-232 Modem functionality is not yet implemented in the current software but will be
available with a free downloadable software update. Please check the Omnia website for new software
announcements, download links and manual updates at: http://www.omniaaudio.com/
6
General Purpose Interface (GPI) (DB-9F)*
This DB 9-female connector serves as a four-input, optoisolated interface to the Omnia's internal Trigger Script
functions*. Four of the pins are “trigger” inputs, one is a bias voltage input, one is a +5V power output, and the
remaining three are “ground.” The trigger inputs can be used to dynamically alter the Omnia ONE’s operation in
response to logic transitions on the interface connection. Virtually any parameter of the Omnia can be controlled
using the Trigger Scripts.
The Trigger Script Interface is a standard component of the Omnia ONE Remote Control application. Full details,
including connector pinout, are covered in Appendix C, starting on Page 99.
*Please note that the GPI and Trigger Script functionality are not yet implemented in the current software but will be
available with a free downloadable software update. Please check the Omnia website for new software
announcements, download links and manual updates at: http://www.omniaaudio.com/
DB-9M GPI “Interface” Connector
Powering Up
Now you are ready to power up the Omnia ONE for the first time.
Connect AC power to the unit using the appropriate supplied power cable for your location.
(There is no power switch!)
When the Omnia ONE is first powered on, audio will appear at the analog audio outputs in approximately ten
seconds. The AES/EBU and Livewire outputs also become usable at this time however full initialization of the
digital ports is not complete for several more seconds and a small audio glitch may be heard when the final sample
rate converter initialization is complete. Once the boot process is finished the following Main Menu will appear:
7
Chapter-2: Getting To Know Your Omnia ONE
The Omnia ONE User Interface
N o w t hat your Omnia ONE is rack-mounted, connected to a program audio source, and turned on, you’re ready to
learn how to operate it! This chapter covers the Front Panel User Interface, your window into the Omnia ONE
processor.
A front panel jog-wheel with integral push switch, LED bargraph peak-reading level meters and a backlit LCD
display that is switchable between menu and AGC/Limiter metering screens make up the primary Omnia ONE User
Interface. The front panel menu access may be password protected to prevent unauthorized tampering with
processing or presets.
Omnia ONE Key Front Panel Features
Headphone Jack Headphone Level Control Jog Wheel
Main Menu / G/R Metering LCD Display Level Meters
Headphone Level Control
A standard ¼" TRS stereo headphone jack is located at the left side of the front panel and allows the processed
signal to be monitored. The Headphone volume level control is physically located to the right of the headphone jack.
The headphone amplifier itself is a high-headroo m design and is driven by its own hi gh quality D/A converter that is
independent of the analog XLR outputs. Therefo re level changes in ei ther output will not affe ct the o the r.
Level Meters & Processing Bargraphs
The top two of the three horizontal meters show digital sample-accurate peak representations of the left and right
channel input or output levels. Whether these bargraphs are displaying Input, Analog Output, AES/EBU Output or
Livewire Output levels is selectable from within the Input/Output menu. A front panel indicator confirms which
level view has been selected, Input or Output.
The bottom horizontal meter (marked “comp / aux”) displays the composite MPX level from the stereo generator
before the output level controls. (Active on FM Style Only)
8
Audio I/O Level Display
Either input or output levels can be displayed on the top 2 (L & R) meters. The highest LED illuminated indicates
digital sample-accurate peak signal levels. The meters are calibrated in decibels below full scale digital (0 dBFS) in
2dB steps. 0 dBFS is the absolute maximum level in the digital domain. Levels from –34 dBFS to –14 dBFS are
displayed in blue, levels from –12 to –2 dBFS are displayed in yellow and 0 dBFS (the clipping point) is displayed
in red. The bottom meter displays the composite MPX signal level referenced to 100% modulation (FM Style Onl y).
Audio I/O Level Display
Processing Meter Display
In “Meter Display” Mode the vertical bargraphs show all of the processing activity (the amount of gain red uction) in
the AGC, Limiter and Clipper sections within the Omnia ONE. (varies with st yle) If the “Menu Display” is
currently showing on the Omnia ONE’s LCD screen, press and hold the jog-wheel for two seconds to switch to the
processing meter display as shown below.
To return to the Menu display, simply click the jog wheel once. (See “Using the Jog Wheel” on Page 10)
Processing Meter Display
AGC Meters Li miter/Clipper Meters
W…... Wide Band AGC L….. Low Band Limiter
L……. Low Band AGC M…. Mid Band Limiter
M…… Mid Band AGC P…... Presence Band Limiter
P…… Presence Band AGC H….. High Band Limiter
H…… High Band AGC B….. Bass Clipper
M…. Main Clipper (AM & FM Styles)
or F…..Final Limiter (MC & SP Styles)
Important Notes:
• A solid white bar will drop downward from the top to display the amount of gain reduction in each
processing band. The change from a solid bar to a checkerboard pattern indicates a “gated” condition
in that band.
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• The wideband AGC and four-band AGCs will recover to a resting gain setting which coincides with
the RTZ (Return To Zero) levels set for each band.
• The Clipper meters are peak reading, showing the maximum amount of clipping that occurred over
the past 30 milliseconds. The Main clipper meter (FM & AM Styles Only) will indicate higher
amounts of clipping on bright program material because the Main Clipper is operating on the preemphasized audio signal. This is normal and does not indicate the perceived amount of audio
distortion.
Main Menu
The Omnia ONE menu system has been designed to be intuitive and simple to use. Most operating parameters can
be found under one of the menu headings and sub-headings, allowing adjustments to be made quickly and with ease.
Rotating the jog-wheel sequentially highlights each menu item in turn. (See “Using the Jog Wheel” on Page 10)
When the jog wheel is pressed inward (clicked) while a menu item is highlighted it will open that item’s submenu.
Similar behavior occurs when selections are made within the various submenus.
To return to the previous level, rotate the jog wheel until <-Exit is highlighted and then press the jog wheel inward.
(Click) This wi ll return you to the next hi ghest level in the men u structure. N OTE: S ome of the longer menus have
an <-Exit option at the top of the menu as well as at the bottom.
The Omnia ONE Main Menu offers five selections:
• Preset
• Processing
• Input/Output
• Administrative
• Lock Front Panel (not visible in the above screenshot)
10
Using the Jog Wheel
The main user control for the Omnia ONE is the easy to use jog wheel with its integral push-switch. Using the
control is both intuitive and efficient, making it easy to navigate the menu structure of the Omnia ONE. Processing
changes and system adjustments can be quickly made with ease without having to remember multiple controls, their
positions, and what they do in each menu. The behavior of the Omnia ONE's menu system is consistent across pages
and is easy to learn. We believe that you will quickly become comfortable with how it works, and appreciate its
simplicity.
Clockwise rotation moves the highlighting in a menu downward and increases a value when editing parameters.
Counterclockwise rotation moves the highlighting in a menu upward and decreases a value when editing parameters.
Pr essing inward on the j og-wheel activates the Enter, Return or Select button function as follows:
Pr essing the jog-wheel inward once (also called “clicking”) selects the highlighted menu item or accepts the current
parameter value. Think of it as a vertical mouse button.
Pr essing and ho ldi ng the jog-wheel in for two seconds will switch the LCD screen to a display of the processing
meters so that the gain-reduction activity of the AGC and Limiter sections can be monitored.
Clicking once when the metering screen is displayed will return the display to the menu screen.
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User Interface Tutorial – Input Source Selection and Peak Level Setting
The following two exercises are a useful introduction to the user interface. Start from the Main Menu (as displayed
when the unit is first turned on ).
The first exercise changes a parameter selection (the Input Source selection):
Rotate the jog-wheel to highlight Input/Output.
Click the jog-wheel (push on the wheel once until a click is felt and release) to bring up the Input/Output
menu.
Rotate the jog-wheel to highlight Input and click.
Rotate the jog-wheel to highlight Input Src and click.
The factory default selection for Input Source is Analog. To change the input selection to AES/EBU digital
or Livewire, rotate the jog-wheel until [AES/EBU] or [Livewire] is displayed and click. If you are using
the analog inputs, rotate the jog wheel to display [Analog] and click to reselect the analog inputs.
To return to the top level of the Main Menu, rotate the jog-wheel to highlight <-EXIT and click. Repeat
until the top level (Main Menu) is reached. NOTE: Many of the Omnia ONE’s menus have an <-EXIT
selection at both the top and bottom of the menu.
The next exercise adjusts a parameter that uses a value (the analog master input level setting):
The Main Menu display should still be showing on the LCD screen. If not, click the jog-wheel to display it.
Highlight Input/Output and click.
Highlight Mtr Select, click, rotate the jog wheel until [Input] is displayed and click. This sets the first 2 LED
meters to monitor the Left and Right channel input levels.
Rotate the jog wheel clockwise to highlight Input and click.
Rotate the jog wheel to highlight Anlg Level and click the jog-wheel to select the control.
Rotate the jog-wheel CW to increase the input level. Rotate the jog-wheel CCW to decrease the input level.
This control adjusts both channels together in precise 0.5 dB steps. The gain in dB is shown to the right of the
“control.” Watch the Left and Right channel LED meters while adjusting per the following section b e l o w .
Proper Setting of Input Levels
With normal program audio levels applied, a correct input level setting will result in peak indications on the L & R
LED meters achieving –12 dBFS or a little higher (just into the yellow). This gain setting corresponds to system
headroom of about 12 dB. You may adjust the input level lower for more headroom if you wish. Setting the input
level for higher meter indications (less headroom) is strongly discouraged unless there is another level-control
device prior to the Omnia ONE that will keep the input levels from reaching the maximum digital level of 0 dBFS.
During nor mal operation, you sho uld neve r see the red “0” segments light.
Once the desired level setting is reached, click the jog-wheel to accept that value. This returns the jog-wheel
to Select Mode.
You may hi ghlight and click Right Trim to adjust its gain separately from the left channel if the input source
is not well balanced. In this mode the right channel gain can be adjusted over a range of plus and minus 3 dB
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relative to the gain setting of the left channel.
To return to the top level of the Main Menu, rotate the jog-wheel to highlight <-Exit and click. Repeat until
the top level (Main Menu) is reached.
All of the Omnia ONE’s software parameters are set in a similar fashion using the jog-wheel to scroll through menu
items. Clicking a highlighted item selects it; when that item is a control, the jog-wheel adjusts the value or level.
Clicking accepts the value or level and returns the jog-wheel to Select Mode.
Note: Altering any processing or gain parameter will instantly be reflected in a change in the Omnia ONE’s output
characteristics because adjustments occur in real time. Therefore any adjustments you make will be instantly heard
as they occur.
An Important Word about Time Delay
A question commonly a sked about Omnias is “How much time delay does it have?” The answer: “Not enough to
drive your DJ’s crazy!”
Certainly, there is reason for concern about the propagation delay through any digital transmission device, audio
processors included. We have measured the propagation time delay, the amount of time it takes for the audio signal
to travel from the analog input of Omnia ONE to the output at approximately 7.7ms for the FM Style when using
AES/EBU digital I/O, about 9.2ms when using analog I/O. This is enough for a slight voice-character coloration to
be audible to the person speaking, but usually not enough to be a problem for talent monitoring off the air.
The delay through the AM style is about 7.0ms(digital I/O) 8.5ms(analog I/O) and the delay through the Multicast
style is about 7.6ms using digital I/O and 9.1ms using analog I/O.
For the Studio Pro style, please see the “Delay Throughput” section in the Studio Pro Style section of Chapter 3. The
Studio Pro style was designed to minimize the delay throughput by allowing the bypassing of the Bass EQ and Final
Limiter sections.
If there is additional delay added to the system, such as that added by certain types of Digital STL, the cumulative
delay may become excessive and cause discomfort for the on-air talent.
Real-world tests conducted by Jeff Goode in Indianapolis determined that a slight echo may begin to be heard at 1015ms, and that anything above 25-30 ms is usually too annoying to talent for monitoring off-air.
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Chapter-3: Getting the Sound You Want
This chapter is divided into four sections, one each for the 4 different Omnia ONE styles, b eginning with the FM
style below.
Please refer to the section that applies to the style your Omnia ONE is running:
AM style: Page 17
Multicast/DAB style: Page 21
Studio Pro style: Page 27
FM Style
Welcome to the OMNIA ONE FM!
Don’t let the small single-rack sized package fool you! Omnia ONE’s new hardware platform allows us to pack
more power in its single rack space than the original Omnia.FM had in three!
This chapter explains generally how to alter the sound of the Omnia ONE FM factory presets, if desired, using the
controls explained in the Adjust Processing section of Chapter 4. Always go through all of the factory presets first,
regardless of their name, and start with the factory preset that is closest to the sound you are looking for.
The Factory Presets
If you go through and listen to all of the included factory presets, you should get a “feel” for them and find one to
start with that is close to the sound you are looking for.
Please keep in mind that the “formats” used to name the presets are only guidelines and are not engraved in stone.
We had to call them something!
Always make sure your input levels and modulation are set properly before beginning your evaluation of presets.
See Proper Setting o f I nput Levels on Page 11.
It is also important to adjust the main “Clipper Drive” control (described in Chapter 4) as low as possible for the
loudness you need for each preset that you try. This is because the “Clipper Drive” controls the primary tradeoff
between loudness and distortion.
The Omnia ONE FM is definitely capable of generating moment-to-mo ment loudne ss; it has the muscle. It also
maintains that famous Omnia clarity sought after by top programmers all over the world.
Omnia ONE FM is designed to minimize the impact of the quality vs. loudness trade-off.
If you believe that you’re in a loudness war and you feel a need to react, we can provide some suggestions that
should help. Conversely, if you have the luxury to strive for increased sound quality, we’ve got suggestions for you
too!
Omnia ONE FM has been designed to minimize the trade-offs between quality and loudness, and we recommend
that before starting the process of cranking it up, try to determine beforehand what sonic characteristics might be
lacking.
14
In many cases it’s not just about increasing the drive to the limiters. Instead, it can be as non-intuitive as creating the
illusion of greater loudness by changing something simple – like a time constant. Sometimes the old adage of less is
more really applies!
Please give the following content some thought as it may assist you in developing an overall fine-tuning plan if you
feel changes beyond our factory presets are justified.
The trade-off between quality and loudness is primarily determined by how you choose to use the limiting and
clipping sections. While each function alone will generate “dial presence,” they each have different advantages, as
well as side effects.
When excessive limiting is us ed, inter modulation disto rtion is increased, making the audio sound “mushy” , a nd
“smeared.” The added short-term density can also cause the audio to be “tight”, “squashed”, or “dense.” The
dynamics” artifacts caused by excessive limiting might sound like “pumping,” “breathing.” The rule for limiting is
“a little goes a long way!”
When excessive clipping is used, harmonic distortion is increased. The audio level is in effect “running into the
brick wall.” Too much clipping can cause the audio to sound “broken-up,” “torn,” “rough,” or “edgy.” As might be
expected, the harder the limiters and clippers are driven, the louder the perceived audio. However, you are also
much more likely to encounter increased intermodulation and/or harmonic distortion.
The following sections are provided to assist you in designing the personality of your sound. As we said earlier,
there is no precise recipe for setting up audio processing because each application is different. However there are a
few basics that we can share with you that can help get you to where you want to go. Setting up processing for the
absolute best end product usually requires a concerted effort, some extended periods of critical listening, and making
a few intelligently chosen and subtle changes over time. It will be time and effort well spent, and all you need to
know up front is that you must:
Kno w your goals ( have a plan).
Take your time.
Always adjust deliberately and methodically.
Listen critically before making more adjustments.
Increasing Density/Loudness
Try to resist the temptation to crank up the aggressive processing sections. They will definitely add loudness but
usually at the cost of quality and intelligibility. Many times, just building a bit more RMS energy in the AGC
sections will do the trick.
The following a re some suggestio ns on where to be gin to make changes. For best results you should try them in the
order we have listed below.
Increasing loudness can be accomplished in five ways:
1. Alter the following parameters in the AGC:
Increase the Drive to the AGC sections.
Increase the Release settings to make the bands operate faster.
2. Modify the Multiband Limiter sections:
Increase the Drive to the Limiter section.
Increase the Release settings to make the bands operate faster.
Note that slowing the Attack time by using a lower setting can help make things sound more natural
when faster Release times are used. But be careful not to allow too many fast transients through to the
final limiter section.
3. Set the Hold threshold in each band to a lower value.
15
4. Increase the Drive to the clipper sections.
5. A combination of all of the above (yes, it sounds crazy but it’s true)!
Always resist the temptation to make too many changes at once because it then becomes difficult to determine why,
or why not, an adjustment made the change you hear. It is better to make small adjustments to a small number of
controls at a time, and then listen to the result with a wide variety of program material. Once you have satisfactory
results in one area (like overall density) you can then move the focus to the next area that you feel needs more
tweaking.
Don’t be afraid to experiment with different styles of processing! Our presets are good starting points and are not
restricted to any particular format because of their name!
Adding More Detail — When Loudness Isn’t the Last Word
Now that we’ve “squashed the grape,” let’s look at what it takes to undo a heavily processed signal. Basically, just
reversing the procedures listed above will do the trick:
1. Reduce the Drive to the Clipper sections.
2. Back off on the influence of the Limiter stages:
• R ed uce the Overall Limiter Drive in the Xover.
• Reduce the Release times to slow down recovery.
• Raise the threshold of the Hold function.
3. Ease up on the AGC sections:
• Reduce the AGC Drive to the Wideband AGC and the Overall AGC Drive in the Xover.
• Reduce the Release times to operate slower.
Backing off the clipping sections first will allow the processing to retain a level of competitive loudness while
enhancing quality, and the overall dynamic texture will be affected less.
Start with reducing the Clipper amount in 0.5 dB steps. It’s surprising how much detail can be restored from just a
small change of 0.5 dB. Continue to reduce it until the loudness just falls off too much and then bring it back up a
little from there.
Generally, changes in the Clipper drives will have the most noticeable effect on quality, but it will also affect the
relative loudness level, too. You’ll need to find a “happy medium” that’s right for you.
Air-Sound Equalization Changes
Tailoring the shape of the overall audio spectrum can be done in three different sections:
1. The relative drive settings in the multiband AGC Xover me n u .
2. The relative Drive settings in the individual multiband Limiter menus.
3. The settings of the multiband limiter Mixer controls.
All three options will provide noticeable change in EQ. We suggest you use the first two listed options.
In either case, an EQ change is still followed by a dynamically controlled stage. Therefore any excessive EQ change
can be 'undone' by the subsequent AGC or Limiter.
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The last option, adjusting the Mixer, is designed to provide a final minor trim to the spectrum. If you've noticed that
we calibrated these controls in 0.10 dB steps, then you know what we mean when we say these controls are for fine
trim!
Since this stage is after all of the dynamic AGC and Limiting, a radical change in level in the Mixer will result in
additional and possibly excessive final limiting or clipping distortion of audio in that band. We suggest that changes
implemented here be limited to no more than about 1.0 dB. Naturally, the decrease in mix level can be done to any
desired amount.
Thunder Bass
Omnia ONE FM has the power to shake the walls with low end! If your source material has it, Omnia ONE FM can
expose that deep bass and do it with muscle! Tailoring Thunder Bass for more dominance is simple, and is done by
adjusting the following parameters and in the order listed:
1. Increase the amount of Bass boost in the Enhancers section.
2. Increase the Drive to the Low Frequency Limiter.
3. Increase the Release setting in the Low Frequency Limiter.
4. Increase the Drive to the Bass Clipper.
Just as in the section on ‘overdoing’ processing, again moderation is the key. If all of the above changes are made in
unison there is a possibility of severe low frequency buildup. This would unbalance the audio spectrum and produce
the ill usion of “lost” presence and high frequencies.
Generally, an increase in the Bass boost alone will provide a sufficient enhancement to the low end. Bass
adjustments should typically be done after selecting the preset you wish to use.
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