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Omnia.

9
All you can imagine. And more.

Installation & User’s Guide


Written by Jim Kuzman, Telos Alliance Technical Writer
Version 0.56.02 Revised August 28, 2014
Includes Addendums for V0.57.23 and V3.00.16
Table of Contents

Table of Contents

Getting the Most From This Manual� Page 3

Chapter 1: The Omnia.9 Story� Page 5

Chapter 2: Quick Startup Guide� Page 8

Chapter 3: General Processing Advice� Page 12

Chapter 4: Home Screen & User Interface� Page 15

Chapter 5: Reading the Processing Meters� Page 20

Chapter 6: The Home Menu� Page 23

Chapter 7: Input Source Audio Menu� Page 25

Chapter 8: Undo Menu� Page 29

Chapter 9: FM Menu - Processing for FM� Page 40

Chapter 10: FM Menu - Processing for ITU-R BS.412 / MPX Power Limiting� Page 69

Chapter 11: FM Menu - RDS� Page 73

Chapter 12: FM Menu - MPX Inputs� Page 81

Chapter 13: FM Menu Meter Options� Page 85

Chapter 14: Studio Processing Menu� Page 90

Chapter 15: HD Processing Menu� Page 93

Chapter 16: Streaming Processing & Encoding Menu� Page 98

Chapter 17: Monitor Output Menu� Page 111

Chapter 18: System Menu� Page 123

Chapter 19: Getting the Sound You Want� Page 150

Chapter 20: Factory Presets� Page 154

Chapter 21: NfRemote Client Software� Page 161

Chapter 22: Frequently Asked Questions (FAQ)� Page 171

Chapter 23: Signal Path Diagrams� Page 179

!@9HL=J1H=;AY;9LAGFK59JJ9FLQ� Page 193

2
Getting the Most From This Manual

Getting the Most


From This Manual
If you read nothing else, read this.

3
Getting the Most From This Manual

Getting the Most From this Manual

Let’s be honest about a few things right up front:

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;GEHD=PALQ9DGF?>GJL@=JA<=

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chapters and their contents in a manner that duplicates the menu structure of the front panel from
the big picture (the Home Screen) down to every individual control.

S This is a whopping big document.

S Your time is valuable and limited.

While we’d love for everyone to read this manual cover-to-cover and fully understand all of what Omnia.9
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virus-plagued laptop from that sales guy (again). Or the wireless mic that the intern backed over with the
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broadcasting.

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I When you’re done here, go to Chapter 2, the Quick Start Guide. This is bare bones stuff
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I Read Chapter 22, the FAQ section. Most users have the same or similar questions. We’ve
attempted to answer those here.

I Read Chapter 3, General Processing Advice, especially if you don’t consider yourself to be a
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"AJ=;LGJ %=F=J9D+9F9?=J GJ9FQGF==DK=O@GE9Q@9N=9K9QAF L@=GN=J9DD KGMF<G>L@=KL9LAGF 
We encourage you to share it with them.

I Read Chapters 4 and 5 - they’ll get you familiar with using the controls and reading the meters.

I Read Chapter 9, Processing for FM, >GJ9 >MDD=PHD9F9LAGF G>L@=HJG;=KKAF?;GFLJGDKA>QGM J=9DDQ


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and Streaming sections as they operate in a nearly identical fashion.

I Glance through Chapter 18, the System menu, GJ BMKL HGC=9JGMF<L@= 1QKL=E E=FM GF L@=
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items.

4
Chapter 1: The Omnia.9 Story

Chapter 1
The Omnia.9 Story

“Once upon a time...”

5
Chapter 1: The Omnia.9 Story

The Omnia.9 Story

How Omnia.9 Came to Be


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for almost two years on hundreds of radio stations around the globe. But the story of how Omnia.9
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tired of listening to classic rock music.

There was a lot of good current music out but he couldn’t stand the way CD mastering was falling victim
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himself listening only to older recordings.

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was born.

Processing for FM, HD, Studio, and Streaming Audio


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clipper.

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There are no hidden or “back door” controls in Omnia.9. We’ve given you full access to all of its controls
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The Omnia.9 Toolbox


Omnia.9 is unique in that it provides you with some built-in tools that we believe are essential to have
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something sounds the way it does.

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@=J=LG>GJ=<A>Y;MDLA>FGLAEHGKKA:D=LGE9C=

6
Chapter 1: The Omnia.9 Story

That’s A Lot of Power…


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will get you close enough to your desired sound so that you can make some tweaks to suit your individual
needs and tastes for your format in your market.

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possible.

Once you’ve learned your way around Omnia.9 and rid yourself of the hassle of trying to keep up with
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take phone calls from the program directors and engineers of the other stations in town who have been
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L@=AJK :MLO@QQGMJEMKA;KGMF<K:=LL=JL@9FAL<G=KGFL@=!"

&GODGF?QGMO9FLLGC==HL@=E?M=KKAF?AK=FLAJ=DQMHLGQGM

7
Chapter 2: Quick Startup Guide

Chapter 2
Quick Startup Guide
In a hurry to get your Omnia.9 on the air?
We understand.

Here are the down-and-dirty bare-essentials to


get you up and running in a jiffy.

8
Chapter 2: Quick Startup Guide

Quick Start Setup Guide

We know that you're probably in a hurry to get your new Omnia.9 installed and on the air. If you have
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Guide will get you up and running as quickly as possible.

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features and capabilities referenced in this guide or in the full product manual may be available in your
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We suggest having an assistant on hand when racking up Omnia.9 to help balance the unit during
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Physical Installation and Initial Configuration


Connect AC power to both of the internal power supplies. There is no power switch. Failure to use both
power supplies is interpreted by the unit as a failure in one of the supplies and will result in an audible
alarm which can be silenced by pressing the small red button between the supplies.

It is always possible for a supply to fail and so having redundant supplies does help protect you against
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>GJE9PAEMEJ=<MF<9F;Q 

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professional line-level analog audio via its Left and Right Inputs in the Main Analog I/O section of the rear
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A Word about AES Reference and Sample Rates: If you need to sync the Omnia.9 to an external
reference, use the AES Reference Input to ensure that the externally generated reference will be used as
the main clock for the Omnia.9.

9
Chapter 2: Quick Startup Guide

However, Omnia.9’s main sample rate MUST be set to match the rate of the external reference at either
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9FQ#1KA?F9D>JGETC&R

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down menus for each Input Source as appropriate for your installation.

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are fed from Input 3. The Studio core is fed from Input 1 by default but can be assigned its own separate
input.

Connect the audio outputs as appropriate for your installation. Omnia.9 supports balanced professional
line-level analog audio outputs via its Left and Right Outputs in the Main Analog I/O section of the rear
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O section.

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J Note: $ 44<?70B8I43 #


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Although is it possible in theory to have excellent peak modulation control even with external pre-
emphasis, in practice not every stereo generator does pre-emphasis correctly. Certain stereo
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) &DC?DC  #45C 'A44<?7  5 H>DB44 7867
frequency peak overshoots, the stereo generator is faulty by design, and must either be replaced or
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audio. Choose “L/R” if you are you do not intend to use Omnia.9’s built-in stereo generator at all. Chose
U+.6
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2@=$+<AN=JKALQ<=D9Q;9F:=K=L:Q?GAF?LG1QKL=E L@=F'--HLAGFK L@=F"AN=JKALQ"=D9Q 

10
Chapter 2: Quick Startup Guide

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psychoacoustic distortion masking.

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sliders to set the input levels. When driving the input with typical program material at normal operating
D=N=DK 9<BMKL L@= 'FHML %9AF O@AD= O9L;@AF?L@='FHMLE=L=JK AF L@= .JG;=KKAF?<AKHD9Q OAF<GOKGL@9L
9N=J9?=D=N=DKC==H L@=E=L=JKAF L@=?J==F '> L@= E=L=JK Z9K@ J=< L@=AFHML AK :=AF?GN=J<JAN=F 9F<
D=N=DKLGL@=-EFA9  EMKL:=J=<M;=< '>F=;=KK9JQ AL AK9DKGHGKKA:D=LGAFN=JLL@=HGD9JALQG>=AL@=J GJ
:GL@ ;@9FF=DK OAL@ L@= 'FN=JL ;GFLJGD  2@=+G<= ;GFLJGD 9DDGOK K=N=J9D <A>>=J=FL ;@9FF=D ;GFY?MJ9LAGF
options.

0=LMJF LGL@=&GE=+=FM K=D=;L$+ K=D=;L .JG;=KKAF?  L@=F K=D=;L *G9<.J=K=LLG;@GGK=GF=G>L@=


factory presets. "Rustonium" is the default preset and provides a well-balanced sound with competitive
DGM<F=KK KMAL9:D= >GJ F=9JDQ9FQ >GJE9L &GO=N=J O=KM??=KL QGM 9M<ALAGF 9DD G>L@=>9;LGJQ HJ=K=LKLG
get a feel for each of them.

 Note: Omnia.9 contains a relay-bypass feature that allows unprocessed audio to pass directly
C7A>D67 C74D=8C C>?A4E4=C2><?;4C4 ;>BB>5 0D38>340308A 0=HC8<4C74B>5CF0A48B =>C 02C8E4 
This includes when the unit loses power, is in the start-up process, or must re-initialize its software
05C4A0??;H8=624AC08=DB4A8=8C80C432>=P6DA0C8>=270=64B

%>A<0;;H C78B8B=>C0=8BBD4 >F4E4A8=24AC08=B8CD0C8>=B5>A4G0<?;485H>D70E40?;0H4A


2>==42C43C>C740=0;>68=?DCB0=30=0<?;8P4A>AB?40:4AB2>==42C43C>C740=0;>6>DC?DCBC78B
means the input and output will be directly connected with no attenuation whatsoever, resulting in
5A843B?40:4AB>A40A3AD<B>A0=4E82C8>==>C8245>;;>F8=62><?;08=CB5A><8AA8C01;4=48671>AB 

When engaged, the bypass relays hard wire the following inputs to outputs:

Analog In > Analog Out


$08=868C0; =$08=$&DC
DG868C0; =DG&DC
$'. = $'.&DC
$'. = $'.&DC

11
Chapter 3: General Processing Advice

Chapter 3
General Processing Advice
Setting your goals and avoiding common pitfalls.

12
Chapter 3: General Processing Advice

General Processing Advice

Know Your Goals


2@=YJKLKL=H LGKM;;=KK>MDHJG;=KKAF?T9F<L@AK9HHDA=KLG,7HJG;=KKGJ FGLBMKL-EFA9  AK<=YFAF?
QGMJ?G9DK 5@9L=N=JL@GK=?G9DK9J= -EFA9 AK;9H9:D=G>?=LLAF?QGML@=J= 

You may wish to maintain as much quality as possible while increasing loudness somewhat over your
=PAKLAF? HJG;=KKGJ  7GM EA?@L O9FL LG ;J=9L= N=JQ ;GFKAKL=FL KGMJ;= LG KGMJ;= KH=;LJ9D :9D9F;= 9F<
<=N=DGH9 UKA?F9LMJ=KGMF<V>GJ QGMJKL9LAGF 7GM E9QYF<QGMJK=D>AF 9 KALM9LAGFO@=J=QGMF==<LGKL9Q
;GEH=LALAN=DQDGM<GF L@=<A9D9LL@==PH=FK=G>L@=:=KLHGKKA:D=KGMF< -J QGME9Q @9N=L@=DMPMJQG>
9AEAF?>GJ9EGJ=GH=F ;D=9F=JKGMF<L@9LOADD<J9O9F<C==H DAKL=F=JK>GJDGF?=JH=JAG<KG>LAE=OAL@GML
having to worry about all-out loudness.

'F9FQ;9K= ALAK:=KLLGKL9JLOAL@9?G9DAFEAF<9F<OGJCLGO9J<AL;9J=>MDDQ9F<<=DA:=J9L=DQ

Tweaking and Fiddling


-F=:A?L=EHL9LAGF O@=F AFKL9DDAF?9 F=O HJG;=KKGJAKY<<DAF?OAL@ =N=JQ9N9AD9:D=;GFLJGD 9F<L@=J=AK
FGK@GJL9?=G> L@GK=AF -EFA9  2@=J=XK J=9DDQ FG :=LL=J O9Q LGYF< GML O@9L =9;@ ;GFLJGD <G=K  :ML
=PH=JAE=FL9LAGF 9F< =PHDGJ9LAGF 9J= HJG:9:DQ :=KL <GF= UGF L@= :=F;@V :=>GJ= QGM HML QGMJ F=O
9;IMAKALAGFGFL@=9AJ 2@9LO9Q QGMXJ=>J==LGLO=9C9O9QOAL@GML@9NAF?LGOGJJQ9:GMLB=GH9J<ARAF?QGMJ
GF 9AJKGMF<GJ:=AF?MFF=;=KK9JADQLAEA<9:GMLE9CAF?9<BMKLE=FLK:=;9MK=QGM <GFXLCFGOO@9L9>>=;L
they will have.

FGL@=JKM??=KLAGF >GJ?=LLAF?LGCFGOQGMJO9Q9JGMF<-EFA9  AKLGYF<9>9;LGJQHJ=K=LL@9LQGM DAC=


9F<L@=F ?G=PHDGJAF?AF L@=N9JAGMKE=FMKLGK==@GOL@9LKGMF<O9K9;@A=N=< $GJ=P9EHD= D=LXKK9Q
QGM YF< 9 HJ=K=L OAL@ 9 KEGGL@  GH=F KGMF< O@A;@ E9L;@=K QGMJ ?=F=J9D HJG;=KKAF? ?G9D  K QGM
=PHDGJ= QGM EA?@LYF<KGE= ;GFLJGDKK=L 9K QGM OGMD<=PH=;LLG<=DAN=J L@9LKGMF< :ML QGM E9Q9DKG
YF<KGE=MF=PH=;L=<K=LLAF?KL@9LE9C=EGJ=;J=9LAN=MK=G>-EFA9 XK ;GFLJGDK 2@=J=AK EM;@ LG:=
learned by studying.

Once you are comfortable with navigating through Omnia.9’s menus and have a good understanding of
@GOALK;GFLJGDKGH=J9L= QGMXJ=J=9<QLGL9C=AL>GJ9L=KL<JAN=GFL@=9AJ

Choosing a Preset
0=?9J<D=KKG>O@=L@=JQGM=F<MH MKAF?9KMHHDA=<HJ=K=LU9K AKVGJE9C=9<BMKLE=FLKLG;MKLGEAR=QGMJ
KGMF<  QGM EMKLKL9JL OAL@ GF=G> L@= >9;LGJQ HJ=K=LK  5=J=;GEE=F<QGM YF<GF=L@9L EGKL ;DGK=DQ
E9L;@=KQGMJ?G9DK9F<L@=FE9C=9FQEG<AY;9LAGFK>JGEL@=J=9KF==<=<

+GKLHJG;=KKGJKMK=J9<AG>GJE9LF9E=KLGLJQ9F<<=YF=L@=AJKGMF<:MLL@=F?GGFLG=PHD9AFL@=J=XKFG
J=9KGF9JG;C KL9LAGF K@GMD<FXLLJQGMLL@=U!GMFLJQVHJ=K=LTO@A;@ AKN=JQLJM= K9JMD= -EFA9  L9C=K
a deliberately different approach and most of its presets don’t give you any hint as to who should use
L@=EGJ@GO AFL@=@GH=KL@9LQGMXDDUKL=HGMLG>QGMJ:GPV9:AL9F<=PHDGJ= 

If your Country station sounds great on the air with settings that might mimic an “Urban” preset - with a
KD9EEAF?DGO=F<9F<9 FA;=GH=F EA< J9F?=TL@=D9KLL@AF?O=O9FLLG<GAKE9C=QGMK=;GF<?M=KK
yourself because the preset name doesn’t match.

13
Chapter 3: General Processing Advice

Making and Saving Changes


&ME9F F9LMJ= AK Y;CD= L@= @ME9F =9J 9<9HLK 9F< LAJ=K IMA;CDQ 9F<-EFA9  AK HGO=J>MD 5AL@ L@GK=
L@AF?KAF EAF<  @=J= 9J=KGE= J=;GEE=F<=< U"GXKV9F< U"GFXLKVO@=F E9CAF?9F< K9NAF? ;@9F?=KLG
presets:

S "-J=KAKLL@=L=EHL9LAGF LG;GFKL9FLDQY<<D=OAL@ =N=JQ;GFLJGD JA?@L9>L=J QGM HML-EFA9  GF L@=


air.

S "-,X2E9C=@9KLQ J9<A;9D;@9F?=K

S "-,X2 E9C=9<BMKLE=FLK LG LGGE9FQ H9J9E=L=JK 9LGF;=TL@9L E9C=K AL <A>Y;MDL LG<=L=JEAF=
O@A;@G>L@=9<BMKLE=FLKAK9;LM9DDQJ=KHGFKA:D=>GJL@=;@9F?=K>GJ:=LL=JGJOGJK= QGMXJ=@=9JAF?
on the air.

S "-DGGC LGL@= 9F< +AP 9F< .9J9E=LJA; #/ K=;LAGFK YJKLLG 9;@A=N= L@= KH=;LJ9D :9D9F;=9C9
UKA?F9LMJ=KGMF<V L@9LQGMXJ=DGGCAF?>GJ 2@=K=9J=HGO=J>MD9<BMKLE=FLK 9F<9DALLD=#/ ;9F?G9
DGF?O9Q 2@AKAK?=F=J9DDQUK9>=JVL@9F E9CAF?9<BMKLE=FLKLGL@=L9J?=L 9LL9;C 9F<J=D=9K=J9L=
;GFLJGDK9KALAKKGE=LAE=K<A>Y;MDLLGCFGO @GOL@=<A>>=J=FL;GEHJ=KKAGF KL9?=KAFL=J9;LOAL@ GF=
another on all material.

S "-L9C= :J=9CK O@=F 9<BMKLAF?QGMJ HJG;=KKAF? #9JK LAJ= IMA;CDQ  9F<A> QGM KL9Q9L AL LGGDGF? 
QGMXJ=9DEGKLKMJ=LGE9C=;@9F?=KAFZM=F;=<:Q>9LA?M=

S "-,X2 LMJF QGMJ EGFALGJ KH=9C=JK MH LGG DGM< O@=F E9CAF? 9<BMKLE=FLK  &A?@ DAKL=FAF? D=N=DK
cause ears to tire even more quickly and mask both gain riding artifacts and distortion. Most
DAKL=F=JK HD9QL@=J9<AGAF L@=:9;C?JGMF< 9F<HJG:D=EK L=F< LG:=EGJ=9M<A:D=9L;GE>GJL9:D=
listening levels.

S "-E9C=KE9DD9<BMKLE=FLK H9JLA;MD9JDQLG;JALA;9D;GFLJGDKDAC=!DAHH=J9F<*AEAL=JL@J=K@GD<K

S DO take the time to calibrate a set of high-quality reference monitors (a process described in detail
in this manual) so that any changes you make aren’t skewed by colorations of the speakers or
room.

S DON’T rush the process. Use the “sleep-on-it” method when you’ve reached a point where you are
EGKLDQK9LAKY=<OAL@L@=KGMF< 9F<L@=F J= =N9DM9L=ALL@=F=PL<9Q '>ALKLADDKGMF<K?GG< 12-. '>
AL<G=KFXL E9C=9>=O9<BMKLE=FLK9F<O9DC9O9Q>GJ9FGL@=J<9Q 

S DO use the “Save As” method of naming and saving your custom presets rather than over-writing
L@=E 2@AKOADD9DDGOQGM LGJ=LMJF LG9FQHGAFLAF QGMJ 9<BMKLE=FLKA>QGM ?=LLGG>9JUG>>LJ9;CV9F<
keep you from having to remember (or guess) what changes you’ve made along the way.

Many Omnia.9 users have asked if they can make their own custom presets “from scratch.” All custom
HJ=K=LK KL9JL DA>= 9K 9 >9;LGJQ HJ=K=L  :ML L@= EGKL KLJ9A?@L>GJO9J<  F=MLJ9D KGMF<AF? >9;LGJQ HJ=K=L AK
U0=>=J=F;=1=LLAF?K V9F<9KKM;@HJGNA<=KL@=;DGK=KLL@AF?LG9U:D9FC;9FN9KVHGKKA:D=>GJ:MAD<AF?QGMJ
own preset from the ground up.

14
Chapter 4: Home Screen & User Interface

Chapter 4
Home Screen &
User Interface
Getting touchy-feely with the GUI and learning your way
around the front panel display.

15
Chapter 4: Home Screen & User Interface

Home Screen & User Interface

At the Top of Every Screen


2@= +=FM 9J 9L L@= LGH G> L@= &GE= 1;J==F K@GOK L@= ;MJJ=FL HJG;=KKAF? ;GJ= :=AF? NA=O=<  L@=
DG;9LAGF G> L@= H9JLA;MD9J -EFA9  MK=J ;MKLGEAR=<  L@= !.3 DG9<  9 1H=9C=J 4GDME= ;GFLJGD  9
&=9<H@GF=4GDME=;GFLJGD 9+=FM:MLLGF 9F<<AKHD9QHJ=K=L:MLLGFK

J WARNING: &?4A0C8=6 0338C8>=0;  >A *CA40<8=6 ?A>24BB8=6 2>A4B 4=2>38=6<D;C8?;4BCA40<B


connecting multiple remotes, and using more display windows at one time places additional
34<0=3B>=C74',B>0BH>D4<?;>H<>A4>5C74B4540CDA4B8COB6>>3?A02C824C>C0:4=>C4>5
C74 ', DB064  -74=', DB064A40274B C748=3820C>A CDA=BH4;;>F 0;4AC8=6H>DC70C H>D
70E4A4027430?A02C820; B054<0G8<D< CC748=3820C>ACDA=BA43C>?A>E8340F0A=8=6C70C
reduced system performance, including interruptions to program audio, is possible.

Omnia.9’s front panel touch screen simultaneously provides access to the user interface and displays a
wealth of information about your processing and signal.

!GFLJGDK KM;@ 9K L@= 1H=9C=J 9F< &=9<H@GF= 4GDME= D=N=DK ;9F :=9<BMKL=<NA9 L@=LGM;@K;J==F :Q
HD9;AF? QGMJ YF?=J GF L@= ;GFLJGD 9F< KDA<AF? D=>L GJ JA?@L  7GM E9Q ;GFLAFM= LG <J9? GMLKA<= G> L@=
boundaries of the slider. Double-tapping on a sliding control will bring up an enlarged view for easier
9<BMKLE=FL 29HHAF?GF9 :MLLGF KM;@9KL@=+=FM ;GFLJGDGH=FKMH <JGH <GOFE=FMKGJ F9NA?9L=KLG9
sub-menu.

S The Speaker Volume ;GFLJGD 9<BMKLK L@=GMLHMLD=N=D G> O@9L=N=J 9M<AGQGM @9N= JGML=<LG L@=
1H=9C=J-MLHML *AC=OAK= L@=Headphone Volume;GFLJGD9<BMKLKL@=GMLHMLD=N=DG>L@=9M<AGQGM
have routed to the Headphone Output. Each control displays the patch point currently being
monitored. Orange bars within the controls indicate that the limiters in the corresponding monitor
output are active. Details of the Speaker Output and Headphone Output are described in the
Monitor Outputs section of this manual.

S The Menu :MLLGF GF L@= >JGFL H9F=D @9K >GMJ GHLAGFK "AKHD9QK -FDQ  *G;C $JGFL .9F=D  #PH=JL
+G<= 9F<0=AFALA9DAR=U0= AFALV "AKHD9Q 

S Selecting Displays Only allows whichever displays you have selected to occupy the entire
>JGFL H9F=D O@AD= @A<AF? L@= ;GFLJGDK  MK=>MD O@=F QGM O9FL 9 EGJ= <=L9AD=< NA=O G> L@=
processing meters or an oscilloscope or FFT display. Tapping anywhere on the screen returns
QGMLGL@=FGJE9DNA=O O@A;@K@GOK:GL@<AKHD9QK9F<;GFLJGDK

S The Lock Front Panel option allows you to lock the front panel if you have enabled password
HJGL=;LAGF 5@=F QGM DG;C L@=K;J==F  9DDG>L@=<AKHD9QOAF<GOKOADD J=E9AF NAKA:D=AF L@=LGH

16
Chapter 4: Home Screen & User Interface

portion of the display and the bottom portion will change to accept your password via the on-
K;J==F C=Q:G9J< "=H=F<AF? MHGF @GO QGM @9N=J= KAR=<L@=N9JAGMK HGJLAGFK G>L@=K;J==F 
L@=<AKHD9QKE9Q9HH=9JKE9DD=JO@=F L@=MFALAKDG;C=<LG=FKMJ=KM>Y;A=FLKH9;=AKJ=K=JN=<
for the on-screen keyboard.

S The Expert Mode;GFLJGD LG??D=K :=LO==F #PH=JL 9F<,GF #PH=JL NA=OK 9F< AK =PHD9AF=<AF
more detail below in the “Navigation Modes” section.

S The Re-init Display control will reset the front panel display. In normal operation it is highly
unlikely that you would ever need to do so unless otherwise instructed by our support team
when diagnosing an issue related to the display.

S The Display Preset:MLLGFK FME:=J=<T D=LQGM;J=9L=9F<K9N=KAPK=H9J9L=&GE=K;J==FK 


$GJ=P9EHD= QGM E9Q OAK@ LG<=NGL=GF=<AKHD9Q HJ=K=LLGFGL@AF?:MLL@=3F<G9F<.JG;=KKAF?
+=L=JKLG<AKHD9QL@=K=H9J9E=L=JKAF ?J=9L=J<=L9AD -J QGM ;GMD<<=NGL=9F =FLAJ=<AKHD9QHJ=K=L
LGL@=GK;ADDGK;GH=9F<EGFALGJL@=HJG?J9E AFHML L@=GMLHMLG>3F<G L@=+.6:=>GJ=L@=;DAHH=J 
9F< L@= YF9D +.6 GMLHMLLG K==O@9L L@= N9JAGMK KL9?=K OAL@AF -EFA9  9J= <GAF?LGL@=9M<AG
signal.

Understanding the User Interface and Display


Omnia.9’s User Interface (UI) is set up in “tiers”.

2@=YJKLLA=J 9DO9QK;GFL9AFKL@=@A?@=KLD=N=D EGKL?=F=J9D E=FMGHLAGFKAF L@=>GJEG>:MLLGFK 5@=F


K=D=;L=< L@=K=:MLLGFKL9C=QGM LG9 K=;GF<LA=J G>E=FM GHLAGFK O@A;@ 9J=9DKG:MLLGFK :MLG>9 EGJ=
KH=;AY;F9LMJ= 2@=L@AJ<LA=JAKE9<=MHG>-EFA9 XK;GFLJGDK

Navigation Modes
There are two navigation modes: Expert and Non-expert 2@=<=>9MDLEG<=AKU,GF #PH=JL V GL@EG<=K
?AN= QGM 9;;=KK LG L@= K9E= FME:=J G> ;GFLJGDK L@= L=JEK J=>=J GFDQ LGL@= O9Q L@GK= ;GFLJGDK 9J=
displayed and laid out.

The Non-ExpertEG<=K@GOK>=O=J;GFLJGDK9LGF;=9F<@9K9;D=9F=J D=KK;DMLL=J=<DGGC =KH=;A9DDQGF


L@=>JGFLH9F=D<AKHD9Q &GO=N=J ALJ=IMAJ=KEGJ=KL=HKLGF9NA?9L=L@JGM?@L@=E=FMKQKL=E

The Expert mode shows all tiers and available controls for selected menu sections at once. This provides
more direct access to items located deeper in the menu structure but may be visually more intimidating to
AF=PH=JA=F;=<MK=JK 'LOGJCK=KH=;A9DDQ O=DD O@=F ;GFF=;L=<NA9 J=EGL=;GFLJGDO@=J=QGM @9N=EGJ=
screen real estate to work with.

Non-Expert Navigation Mode


Q<=>9MDL -EFA9 HGO=JKMHAFL@=,GF =PH=JLF9NA?9LAGFEG<= 

In this mode:

S The top portion of the screen is devoted to the display windows.

S The bottom portion of the screen shows the buttons or controls for the current tier.

S 'F :=LO==F L@=K= LOG 9J=9K AK 9 F9NA?9LAGF :9J L@9L K@GOK QGM =P9;LDQ O@=J= QGM U9J=V OAL@AF
-EFA9  9DGF?OAL@ F9NA?9LAGF 9JJGO :MLLGFKL@9LD=LQGM ?G>GJO9J<GJ :9;CO9J<LGEGKLHD9;=K
you have visited in the fourth tier.

17
Chapter 4: Home Screen & User Interface

S Selecting and holding down either of the arrow buttons will bring up a list of these places so you
can re-visit them directly.

S "GM:D= L9HHAF?GF 9FQG>L@=;GFLJGDK:JAF?KMH 9 E9?FAY=<NA=O L@9L@9KLOGD9J?=KDA<=JKTGF=


>GJ9U;GMJK=V 9<BMKLE=FL9F<GF=>GJ9UYF=V9<BMKLE=FL -F;=QGMXN=E9<=QGMJ9<BMKLE=FLK L9H
“Done” to return to the previous display of all the controls for the tier you’re in.

S You can make individual portions of the window larger or smaller to devote more or less on-screen
J=9D=KL9L=LG<AKHD9QOAF<GOKGJ;GFLJGDOAF<GOK:Q<J9??AF?MH9F<<GOFGFL@=J= KAR=:9JK

Tier 1 Tier 2 Tier 3 Tier 3 Display


Menu Menu Menu Controls Presets

Speaker &
Headphone Volume
Navigation Resize
Arrows Bars

Expert Navigation Mode


CDA;CAF?GF L@=+=FM :MLLGF 9F<K=D=;LAF?U#PH=JL+G<=V9DDGOK EGJ=<AJ=;L ;GFLJGD:Q <AKHD9QAF?EGJ=
information at once.

In this mode:

• The navigation bar and arrows are eliminated.

• The top portion of the screen is devoted to the display windows.

• 2@=EA<<D=HGJLAGFG>L@=K;J==FK@GOKL@=YJKL K=;GF< 9F<L@AJ<LA=J:MLLGFK

• The bottom portion of the screen shows the third tier controls.

• You can make individual portions of the window larger or smaller to devote more or less on-screen
J=9D=KL9L=LG<AKHD9QOAF<GOKGJ;GFLJGDOAF<GOK:Q<J9??AF?MH9F<<GOFGFL@=J= KAR=:9JK

18
Chapter 4: Home Screen & User Interface

Tier 1 Tier 2
Menu Menu
Tier 3
Menu

Tier 3
Controls

Resize
Bars

The Three Basic Control Types


There are three basic types of controls in Omnia.9:

S On/Off buttons  2@=K= ;GFLJGDK LG??D=GF 9F<G>>  L@=J=:Q=F9:DAF?GJ <AK9:DAF?L@=9KKG;A9L=<


function.

S Drop-down menus HJGNA<= 9 <JGH <GOF DAKL G> GHLAGFK  1;JGDDAF?GN=J =9;@ GHLAGF @A?@DA?@LK AL 
while a tap or left-click on a mouse selects it.

S Sliding controls - Selecting a slider control highlights it. Tapping and holding (or left-clicking and
@GD<AF?OAL@ 9 EGMK=  9 KDA<=J 9DDGOK QGM LG<J9?AL:9;C 9F<>GJL@ LG9<BMKLALK H9J9E=L=J  5@=F
MKAF?9LGM;@AFL=J>9;= <J9??AF?L@=KDA<=J>9KL=JOADD9;;=D=J9L=L@=J9L=G>;@9F?= KDGF?9KQGM
@9N=FXL DA>L=< QGMJ YF?=J GJ J=D=9K=< L@= D=>LEGMK= :MLLGF  QGM ;9F ;GFLAFM= LG<J9? L@= KDA<=J
beyond the edge of the control all the way out to the very edge of the display. Because it is often
<A>Y;MDLLGE9C=YF=9<BMKLE=FLKGF9KE9DDK;J==F O@=FMKAF?9LGM;@ AFL=J>9;=QGM ;9F<GM:D=
L9H 9KDA<=JLG:JAF?MH 9HGH MH OAF<GOOAL@LOGD9J?=KDA<=JK GF=>GJU;G9JK=V9<BMKLE=FL9F<GF=
>GJUYF= V

19
Chapter 5: Reading the Processing Meters

Chapter 5
Reading the
Processing Meters
A meter is worth a thousand words, or how to connect
what you see to what you hear.

20
Chapter 5: Reading the Processing Meters

Reading the Processing Meters

Understanding the Processing Meters Display


The Processing Meters Display provides a tremendous amount of information about what’s going on
AFKA<==9;@G>-EFA9 XKHJG;=KKAF?;GJ=K :MLAF9N=JQ=>Y;A=FL9F<=9KQ LG J=9<E9FF=J

Stereo Stereo Multiband MPX


Enhance Enhance Output Output
Narrowing Widening

Input
AGC

Multiband
AGC

Wideband
Input AGC1 Multiband
Wideband
Limiter
AGC2

IF L@=$+HJG;=KKAF?;GJ= E=L=JK9J=HJGNA<=<>GJEGFALGJAF?AFHMLD=N=DK 'FHML%! 5A<=:9F<%! 


+MDLA:9F< %! 9F< *AEAL=JK  +MDLA:9F< ,GAK= 0=<M;LAGF  +MDLA:9F< 1L=J=G #F@9F;=E=FL  5A<=:9F<
%!9F<%!K=;LAGFK HGKL EMDLA:9F<GMLHML +.6GMLHML 9F<AF<ANA<M9DD=>L9F<JA?@LGMLHMLK 'FL@=
&" 9F< 1LJ=9EAF? ;GJ=K  E=L=JK >GJ L@= YF9D DGGC 9@=9< H=9C DAEAL=JK 9F< L@= YF9D GMLHML G> L@=
HJG;=KKAF?;GJ=9J=9<<=< O@AD=L@=+.6GMLHML9F<D=>L9F<AGC output meters are eliminated.

• The ITU BS.1770 Input meters indicate the level of the unprocessed source audio coming into
-EFA9 OAL@ZG9LAF?H=9CAF<A;9LGJK9:GN==9;@:9J

• The Auto Balance window indicates any corrective left-to-right channel balancing being performed.

• The AGC meter window shows the levels and action of the Input AGC and the Wideband AGC1
compressors. It also shows the level of the Wideband AGC2 section when it is enabled and
positioned before the multiband section.

"=H=F<AF?MHGF L@=K=LLAF?KG>L@=N9JAGMK'FHML9F<5A<=:9F<%!%!;GFLJGDK L@=K;9D=LG


the left of the meter can display levels below threshold (positive numbers) as well as levels above
threshold (negative numbers). When the meters dip down below “0” the compressors are above
threshold and therefore in a state of gain reduction. When they rise above “0” they are below
L@J=K@GD<9F<AF9 KL9L=G>?9AF AF;J=9K= 2@=;GE:AF9LAGFG>'FHML%! %! 9F<%!?9AFAK
added together to determine the total amount of AGC gain in place.

21
Chapter 5: Reading the Processing Meters

• The Input AGC levels are indicated by a bright yellow bar. The Wideband AGC1 levels are shown
9K 9 <9JC GJ9F?= :9J =PL=F<AF? :=DGO L@= 'FHML %! E=L=J  5A<=:9F< %! D=N=DK A> L@AK
;GEHJ=KKGJ AKKALM9L=< :=>GJ=L@=EMDLA:9F<K=;LAGF  9J=K@GOF 9K 9 K=;GF<  <9JC=J GJ9F?=:9J
below the AGC1 meter.

• The MultibandE=L=J OAF<GOK@GOKL@=D=N=DK9F<9;LAGF G>L@=%! DAEAL=J 9F<FGAK=J=<M;LAGF


sections for each band (ranging from 2 to 7 depending upon the preset employed). As is the case
OAL@ L@=%!E=L=JAF?K=;LAGF L@=K;9D=OADD;@9F?=:9K=<MHGFL@=K=LLAF?KG>N9JAGMKEMDLA:9F<
controls.

• The AGC level in each band is indicated by a bright yellow bar. The multiband limiter for each band
AK J=HJ=K=FL=< :Q 9 :JA?@L J=< :9J L@9L Z9K@=K :=F=9L@ L@= %! D=N=D  2@= EMDLA:9F< FGAK=
reduction for each band is shown by a dark red bar that appears to drop down from the very top of
L@=E=L=J %9LAF?  L@=;GF<ALAGF AF O@A;@ J=D=9K=AKKA?FAY;9FLDQ KDGO=<<GOF  AK AF<A;9L=<:Q9
<9JC J=< JA::GF 9L L@= :GLLGE G> L@= EMDLA:9F< %! E=L=JK  $J==RAF?  L@= ;GF<ALAGF AF O@A;@
J=D=9K= KLGHK ;GEHD=L=DQ  AK AF<A;9L=< :Q L@= K9E= J=< JA::GF  :ML KDA?@LDQ :JA?@L=J  "JQ NGA;=
detection is indicated by a green ribbon in the same location.

• If the Wideband AGC2;GEHJ=KKGJAK=F9:D=<9F<HD9;=<9>L=JL@=EMDLA:9F<K=;LAGF GJALAKMK=<


AFGF=G>ALK 9KKEG<=K ALKE=L=JOADD:=<AKHD9Q=<K=H9J9L=DQLGL@=JA?@LG>L@=EMDLA:9F<<AKHD9Q 
The Wideband AGC3 meter will appear after the multiband section as well if it has been enabled.

• The Multiband Output E=L=JKK@GOL@=D=N=DK9>L=J L@=EMDLA:9F<HJG;=KKAF?K=;LAGF :ML:=>GJ=


the Bass Clipper and Final Clipper.

• The MPXE=L=J K@GOKL@=YF9DGMLHML G>-EFA9 XK$+HJG;=KKAF?;GJ= AF;DM<AF?*


0 * 0 9F<
HADGL HDMK0"1O@=F=F9:D=<

• The L/RE=L=JKK@GOL@=GMLHMLG>L@=*0;DAHH=J O@A;@ AKMK=>MDGFDQA>QGM9J=MKAF?L@=F9DG?


or Digital FM L/R outputs.

• The Multiband Stereo Enhancer meters will be displayed if the current preset employs this
feature.

7=DDGO :9JK =PL=F<AF?>JGE L@=EA<<D=GMLO9J<LGO9J<L@=D=>L9F<JA?@LG> L@= <AKHD9Q AF<A;9L=9


widening of the stereo image.

0=<:9JK =PL=F<AF? >JGE L@= D=>L 9F<JA?@L =<?=K LGO9J< L@=EA<<D= AF<A;9L= 9 F9JJGOAF? G> L@=
stereo image.

22
Chapter 6: The Home Menu

Chapter 6
The Home Menu
M+74A4OB=>?;024;8:47><4N>A>C7H

23
Chapter 6: The Home Menu

The Home Menu

Omnia.9’s Home Menu AK L@= @A?@=KL D=N=D E=FM 9N9AD9:D=AF L@= MK=J AFL=J>9;=  $JGE @=J=  QGM ;9F
;GFY?MJ=9F<JGML='FHMLKGMJ;=9M<AG 9;;=KKL@=3F<GE=FMK9F<;GFLJGDK 9;;=KKL@=;GFLJGDKG>L@=
N9JAGMKHJG;=KKAF?;GJ=K ;GFY?MJ=L@=+GFALGJ-MLHMLK 9F<9;;=KKKQKL=EK=LLAF?K

'>QGM=N=JDGK=QGMJO9QAF L@=E=FM KQKL=E ?GAF?:9;C LGL@=&GE=+=FM OADD?=LQGM IMA;CDQ:9;C GF


familiar ground.

24
Chapter 7: Input Source Audio Menu

Chapter 7
Inputs 1/2/3
Source Audio Menu
“The only source of knowledge
is experience.” - Albert Einstein

“The only source of audio are those jacks on the back.


And the internal player.” - Omnia.9 Manual

25
Chapter 7: Input Source Audio Menu

Source Audio Menu - Inputs 1/2/3

Each of the inputs has its own Source Audio Menu and Undo Menu. Input 1 is always used for FM/
&" 1LJ=9EAF? -F MFALKKG=IMAHH=<  'FHML  >==<KL@=&" 1LJ=9EAF?  H9L@ O@AD='FHML >==<K
the HD-3/Streaming 3 path. The menus and controls are identical for each.

Source Audio Menu


The Source Audio Menu provides access to the Auto Balance and Internal Playback sub-menus.

Auto Balance Menu


When Auto Balance AK =F9:D=<  -EFA9  OADD 9MLGE9LA;9DDQ :9D9F;=L@=D=>L 9F<JA?@L ;@9FF=DK G> L@=
AF;GEAF? 9M<AG  ;GEH=FK9LAF? >GJ 9FQ D=N=D <AK;J=H9F;A=K L@9L E9Q := HJ=K=FL AF 9F 9M<AG KL9?=
preceding the processor (such as the output of a console or an STL). To monitor input audio before Auto

26
Chapter 7: Input Source Audio Menu

9D9F;=  := KMJ=LGEGFALGJ 9LL@=.JG?J9E 'FHMLH9L;@ HGAFL 2G EGFALGJ 9M<AGAEE=<A9L=DQ 9>L=JMLG
9D9F;= ;@GGK=L@=.J= "=;DAHH=JH9L;@HGAFL

S Selecting the Enable button toggles Auto Balance on and off.

S The RangeKDA<=J K=LK L@= E9PAEME LGL9D 9EGMFLG>?9AF L@9L ;9F :=AF;J=9K=<GJ <=;J=9K=<AF
=9;@ ;@9FF=D $GJ =P9EHD= OAL@ L@=09F?=;GFLJGDK=L9L < L@=?9AF AF =9;@;@9FF=D;9F :=
boosted by up to 3dB and attenuated by up to 3dB. Each channel contains an ITU BS-1770
loudness monitor which measures and compares the frequency-shaped RMS level in each channel.

S The Integration Time control determines how quickly Auto Balance corrects any discrepancies
between the left and right channel. Shorter integration times correct channel-to-channel imbalances
more quickly and provide more consistent levels between the left and right channels. Reducing the
AFL=?J9LAGFLAE=LGGEM;@E9Q;9MK=9FMF<=KAJ9:D=GJMFF9LMJ9D=>>=;L9KL@=;@9FF=DKJ= :9D9F;= 
and therefore the default setting of 10 seconds is recommended for most situations.

S The Channel Loss Timeout option automatically fades to mono if one input channel is missing.
2@=D=F?L@ G>LAE=-EFA9 O9ALK:=>GJ=>9<AF?LGEGFG;9F:=K=LLG   GJK=;GF<K 
seconds is the default. This feature can be disabled altogether by selecting “Off”.

Internal Playback Menu


-EFA9 HJGNA<=KL@=9:ADALQLGHD9Q9M<AGYD=KQGMHJGNA<=>JGEOAL@AFL@=MFALALK=D>>GJ=9;@AFHML 

27
Chapter 7: Input Source Audio Menu

S Selecting the Internal Playback button will start audio playback from Omnia.9’s internal library of
songs.

J WARNING: This will interrupt the program audio being fed to the selected input!

2@=AFL=JF9DHD9Q=JAKFGL9F 9MLGE9LAGFKQKL=E :MLAL;9FJ9F<GEAR=EMKA; 9F<?M9J9FL==KFGLLGJ=H=9L


a song within twenty songs (provided you have more than 20 songs in the folder). Beyond its value as a
L=EHGJ9JQ:9;CMH KGMJ;= L@=AFL=JF9DHD9Q=JAK9DKG@9F<QA>QGM9J=<GAF?OGJC AFL@=KLM<AG9F<F==<LG
L=EHGJ9JADQAFL=JJMHLL@=FGJE9D9M<AGAFHMLH9L@ -J HJGNA<=<-EFA9  AKDG;9L=<9LL@=LJ9FKEALL=JKAL= AL
can also play out music if you need to work on the STL.

2@=AFL=JF9D HD9Q=J OADD FGL;JGKK>9<= :ML OADD9MLGE9LA;9DDQ;ML9FQKAD=F;=9LL@=:=?AFFAF?9F<=F<G>


each track and thus provide tight back-to-back playback. Station IDs may be optionally inserted between
songs.

Music is uploaded to the internal SSD drive by connecting to Omnia.9’s built-in FTP server on port 7321
(passive ports 7322-7331). The default user name is either anonymous or “Omnia”. There is no
H9KKOGJ<  9K 9;;=KK AK ;GFLJGDD=< :Q L@= &22. ;;=KK 5@AL= *AKL >GMF< AF L@= 1QKL=E  1QKL=E
!GFY?MJ9LAGF&22.;;=KKE=FM

2@=AFL=JF9D<JAN=;9F @GD<JGM?@DQ% G>EMKA; AF+. +. $*! GJ54.!+GFDQ  >GJE9LK 2@=


$2.K=JN=JOADDJ=>MK=9FQYD=L@9LAKFGL9KMHHGJL=<LQH=

,GL=L@9L9DL@GM?@L@=AFL=JF9DHD9Q=JGN=JJA<=KL@=HJG?J9EAFHML QGM;9FKLADD@=9J9F<K==L@=H@QKA;9D
input through any of the Monitor Outputs (including Client Audio on a remote connection) by selecting one
of the Physical Input patch points.

Each root folder will be directly available in the Folder drop-down menu and will automatically receive a
U1L9LAGF'"KV>GD<=JO@=J=QGM;9FHD9;=KL9LAGF'"KGJBAF?D=K 

S The Gain control sets the output level of the internal audio player.

S The Previous and Next:MLLGFK9DDGOQGMLGHD9QL@=F=PLGJD9KLKGF? J=KH=;LAN=DQ

S The Mode Selector @9KK=N=J9DGHLAGFK>GJ YD=HD9Q:9;C $AD=KAEHDQHD9QKGF=;ML MFLAD ALAKGN=J


and then stops. Folder plays the entire contents of the folder and stops. Repeat File and Repeat
Folder allow you to repeat either a single cut or an individual folder respectively.

28
Chapter 8: Input Undo Menu

Chapter 8
Inputs 1/2/3
Undo Menu
Confucius said that when faced with what is right,
leaving it undone shows a lack of courage.

Call us brave.

29
Chapter 8: Input Undo Menu

Undo Menu - Inputs 1/2/3

What Exactly Is Undo?


'F GJ<=J LGMF<=JKL9F< @GO LG :=KL MK=3F<G AL AK @=DH>MD LGMF<=JKL9F< =P9;LDQ O@9LAL AK 9F<@GO AL
works.

3F<GAK 9;LM9DDQLOGK=H9J9L=HJG;=KK=K  9 <= ;DAHH=J 9F<9 EMDLA:9F<=PH9F<=J TO@A;@ OGJC LG?=L@=J


LGUMF<GVL@=HGGJDQE9KL=J=< @QH=J ;GEHJ=KK=<9F<;DAHH=<9M<AG>GMF<GFKGE9FQEG<=JF!"XK 

J Note: The de-clipper works most effectively when using Omnia.9’s digital inputs. Regardless of
whether your use an analog or digital input, the incoming audio must not be equalized or pre-
processed in any way. This means NO leveler, neither wideband nor multiband. If the possibility of
2;8??8=6 C74 *+#0C C74BCD38> 8B 02>=24A= B8<?;H CDA=3>F=C748=?DC ;4E4; C>C74*+#0=3 DB4
Omnia.9’s Input Gain control to compensate. Omnia.9 will also happily boost low input levels
automatically.

29C=9 DGGC 9LL@=LOGO9N=>GJEK:=DGO ;9HLMJ=<MKAF?-EFA9 XK:MADL AFGK;ADDGK;GH= 2@=LGH OAF<GO


shows the damaged source audio. The bottom window shows the same audio after it has passed through
the de-clipper. Notice how the peaks that were clipped during mastering have been restored by the de-
clipper.

J Note: The oscilloscope gain was kept at the same level for comparison purposes, but Omnia.9 has
BD5P284=C8=C4A=0; 7403A>><0=3C748;;DBCA0C8>=BC70C5>;;>F3>=>CBD664BCC70CC740D38>8B148=6
2;8??430608=1H0=H?>AC8>=>5M,=3>N

2@=K=;GF<KL9?=G>3F<GAK 9 EMDLA :9F<=PH9F<=JL@9LAK <=KA?F=<LGJ=KLGJ=<QF9EA; J9F?=LG9M<AG


L@9L @9K :==F =P;=KKAN=DQ ;GEHJ=KK=<  #9;@ G> L@=YN=:9F<K G> L@==PH9F<=J @9K 9 ;GJJ=KHGF<AF?
HKQ;@G9;GMKLA; <QF9EA;K <=L=;LGJ 9F< 9 H=9C <=L=;LGJ L@9L =P9EAF= L@= H=9C D=N=DK G> L@= AF;GEAF?

30
Chapter 8: Input Undo Menu

9M<AG  9F<:9K=<MHGF L@9LAF>GJE9LAGF HDMKL@=K=LLAF?KG>L@=N9JAGMK ;GFLJGDK L=DDK L@==PH9F<=J@GO


much dynamic range to restore to the audio.

2@=ADDMKLJ9LAGFKL@9L>GDDGOK@GOL@=<9E9?=<9M<AG:=>GJ=<= ;DAHHAF?GJ=PH9FKAGF 2@=:GLLGEOAF<GO


K@GOKL@=K9E=9M<AG9>L=JAL@9K:==F<= ;DAHH=<9F<=PH9F<=<

Undo Menu
Each of the three internal audio input paths has a dedicated Undo section.

From the main UndoE=FM QGM;9FDG9<9F<K9N=3F<GHJ=K=LK HJGL=;LHJ=K=LK =F9:D=9F<<AK9:D=L@=


<= ;DAHH=JGJEMDLA:9F<=PH9F<=J ;@GGK=O@A;@>MF;LAGFK9J=<AKHD9Q=<AFL@=3F<GE=L=JOAF<GO 9<BMKL
L@=9EGMFLG><= ;DAHHAF? 9<BMKLL@=<QF9EA;K<=L=;LGJXKJ9LAG O=A?@LAF? 9F<H=9C K=LLAF?K 9F<K=LL@=
=PH9F<=JXKD=N=DK J9L=K 9F<J9LAGK

31
Chapter 8: Input Undo Menu

OGJ<G>;9MLAGF9:GML3F<G'FC==HAF?OAL@L@=UKHAJALVG>-EFA9  O=@9N=FGL:DG;C=<9;;=KKLG9FQ
G> ALK ;GFLJGDK  AF;DM<AF? L@GK= >GMF< AF L@= 3F<G K=;LAGF  F< O@AD= O= OGMD< := L@= D9KL GF=K LG
<AK;GMJ9?=QGM >JGEE9CAF?L@=EGKLG>=N=JQL@AF?-EFA9 @9KLGG>>=J O=>==DL@9LGMLKA<=G>9<BMKLAF?
L@=D=N=DG><= ;DAHHAF? EGKLMK=JKOADD?=LL@=EGKLGMLG>L@AKHGO=J>MDLGGD:QMKAF?GF=G>L@=HJGNA<=<
>9;LGJQ3F<GHJ=K=LK $GJL@=EGJ=;MJAGMK9F<:J9N= J=9<GF

Load Preset, Save Preset, and Preset Protection Menus


The Load Preset E=FMK 9DDGOK QGM NA=O L@= 3F<G HJ=K=L ;MJJ=FLDQ GF L@= 9AJ LG??D= :9;C 9F< >GJL@
:=LO==F L@=;MJJ=FL 9F<:9;CMH HJ=K=LK DG9<9 F=O HJ=K=L ;GEH9J=L@=K=LLAF?K G> LOGHJ=K=LK 9F<
delete user presets. The Save Preset menu allows you to edit the name of or save over a user preset.
The Preset Protection +=FM 9DDGOKQGM LG H9KKOGJ<HJGL=;L 9 HJ=K=LKG L@9LAL;9FFGL:=EG<AY=<GJ
copied for use in another Omnia.9.

;GEHD=L==PHD9F9LAGF G> @GO LGMK=L@=*G9<.J=K=L 19N=.J=K=L 9F<.J=K=L.JGL=;LAGF >MF;LAGFKAK


>GMF< AF L@= K=;LAGF G> L@AK E9FM9D <=NGL=<LG $+ HJG;=KKAF? )==H AF EAF<  @GO=N=J  L@9L O@AD= L@=
HJG;=KK >GJ DG9<AF?9F< K9NAF? HJ=K=LK AK A<=FLA;9D  these are two completely independent operations
within Omnia.9 with completely different sets of presets.

Undo Main Menu


The Undo Main menu contains the controls to enable and disable Undo.

S 5@=FK=D=;L=< L@=Bypass;GFLJGDLMJFKG>>:GL@L@=<= ;DAHH=J9F<L@==PH9F<=JHGJLAGFKG>3F<G

S The Enable De-clipper and Enable Expanders:MLLGFKLMJFL@=<= ;DAHH=J9F<=PH9F<=JHGJLAGFK


G>3F<GGF9F<G>>AF<=H=F<=FLDQ J=KH=;LAN=DQ

Undo Metering Menu


The Undo Metering menu determines which of Undo’s four metering functions are displayed in the Undo
+=L=JKOAF<GO EGJ=;GEHJ=@=FKAN==PHD9F9LAGF G>@GOLG J=9<9F<MF<=JKL9F<L@=3F<GE=L=JKAK
HJGNA<=<D9L=JAFL@AKK=;LAGFO@=FL@=N9JAGMK3F<G;GFLJGDK9J==PHD9AF=<

5@=F =F9:D=<  L@= Show Dynamics Detector +=L=JK  Show Expander Ratio +=L=JK  Show Speed
Governor +=L=JK  9F< Show Expander Threshold Meters allow the associated meters for each
respective section to be displayed in the Undo Meters window.

32
Chapter 8: Input Undo Menu

De-clipper Menu
The De-clipper menu contains a single control to set the level of de-clipping in 5 stages. Lower settings
G>>=JEGJ=;GFK=JN9LAN=<= ;DAHHAF?9;LAGF O@AD=@A?@=JK=LLAF?KG>>=JEGJ=<= ;DAHHAF? 

A setting of Level 5 the “normal” setting and recommended for most modern material which have been
mastered with high levels of compression and clipping. If your station primarily plays source material that
@9K:==F;D=9FDQE9KL=J=< QGME9QYF<DGO=JK=LLAF?K9J=KM>Y;A=FL 

2@=EGKL=>>=;LAN=O9QLGEGFALGJ=P9;LDQO@9LL@=<= ;DAHH=JAK<GAF?AKLGNA=O L@=HJ= <= ;DAHH=J 9F<


HGKL <= ;DAHH=JO9N=>GJEKKA<= :Q KA<=MKAF?-EFA9 XK:MADL AFGK;ADDGK;GH=K "=L9ADKG>@GOLG;GFY?MJ=
the display windows and set up the oscilloscopes are provided in the Display Settings section of the
manual.

Density Detector Band Weighting


#9;@ :9F< G> 3F<GXK =PH9F<=J @9K 9 ;GJJ=KHGF<AF? <=FKALQ <=L=;LGJ  2@= Density Detector Band
Weighting controls allow you to determine how much control each detector provides its own band as well
9K9FQGL@=J=PH9F<=J:9F< 

33
Chapter 8: Input Undo Menu

2G HML L@AK ;GF;=HL AFLG LJ9<ALAGF9D HJG;=KKAF? L=JEK  AL AK KAEAD9J LG U:9F< ;GMHDAF?V AF 9 EMDLA:9F<
;GEHJ=KKGJ O@=J=9DD:9F<KE9QGH=J9L=;GEHD=L=DQAF<=H=F<=FLDQG>GF=9FGL@=JGJE9QAFZM=F;=GF=
another by way of coupling to varying degrees.

2@= <=?J== LG O@A;@ =9;@ <QF9EA;K <=L=;LGJ :9F< AFZM=F;=K 9F< ;GFLJGDK =9;@ =PH9F<=J :9F< AK
<=L=JEAF=<:Q9 P KDA<=J E9LJAP #9;@;GDMEF J=HJ=K=FLK9 <QF9EA;K<=L=;LGJ :9F< O@AD==9;@ JGO
J=HJ=K=FLK9F=PH9F<=J:9F< 
2@=<=>9MDL9F<J=;GEE=F<=< K=LLAF?K9J=K=LMH KGL@9L=9;@=PH9F<=J:9F<;GFLJGDD=<9DEGKL=FLAJ=DQ
:QALK ;GJJ=KHGF<AF?<QF9EA;K<=L=;LGJ:9F< :MLOAL@ KGE=;GFLJGD HJGNA<=<:Q KMJJGMF<AF?<QF9EA;K
<=L=;LGJ :9F<K  &A?@=J N9DM=K E=9F 9 H9JLA;MD9J <QF9EA;K <=L=;LGJ :9F< @9K EGJ= AFZM=F;= GN=J 9
H9JLA;MD9J=PH9F<=J:9F< 9F<NA;=N=JK9

Please note that in order to provide a means by which to allow one dynamics detector band to provide
 G> L@=;GFLJGD GN=J 9 KAF?D==PH9F<=J :9F<  =N=JQ;GFLJGD EMKL :=<=KA?F=<LG?G9DD L@= O9QLG
 5@=F GF= ;GFLJGD AK K=L LG 9F< GL@=J ;GFLJGDK AF L@9L :9F<9J= K=LLG 9 N9DM= @A?@=J L@9F  
L@=J=:Q;9MKAF?9KME?J=9L=JL@9F  3F<GAFL=JHJ=LKL@9LAF>GJE9LAGF9F<9<BMKLKL@=K=LLAF?KG>=9;@
:9F<LGE9AFL9AFL@=<=KAJ=<HJGHGJLAGFG>AFZM=F;=QGM@9N=K=L>GJ=9;@:9F<J=D9LAN=LG

Dynamics Detector to Ratio Menu


The Dynamics Detector to Ratio E=FM 9DDGOK QGM LG K=L LAE= ;GFKL9FLK G> L@= =PH9FKAGF J9LAG
9<BMKLE=FL9KO=DD9K L@=#PH9FKAGF1L9JLD=N=DK9F<2J9FKALAGF 5A<L@ D=N=DK>GJ=9;@ G>L@=:9F<KG>
3F<GXKEMDLA:9F<=PH9F<=J 

34
Chapter 8: Input Undo Menu

S The Attack and Release;GFLJGDK>GJ =9;@ :9F<<=L=JEAF=K @GO IMA;CDQ L@= =PH9FKAGF J9LAG OADD
LJ9;C 9DGF? OAL@ L@= <QF9EA; <=L=;LGJ K=LLAF?K  2@= <=>9MDL 9F< J=;GEE=F<=<  K=LLAF? AK  
O@A;@E=9FKL@==PH9FKAGFJ9LAGOADDLJ9;CAFKL9FL9F=GMKDQOAL@FG9<<ALAGF9D<=D9Q 

S 5@=FL@=<QF9EA;K<=L=;LGJ>9DDK:=DGO9;=JL9AFD=N=D =PH9FKAGFOADD:=?AF KL9JLAF?9L9EAFAEME


J9LAGG> 9F<AF;J=9KAF?LG9 E9PAEME J9LAGG> 2@=HGAFL9LO@A;@ L@9L=PH9FKAGF:=?AFKLG
occur is set by the Expansion Start control in each band.

S 2@=J=D9LAN=HGAFL9LO@A;@L@==PH9FKAGFJ=9;@=KALK>MDDJ9LAGAK<=L=JEAF=<:QL@=K=LLAF?G>L@=
Transition Width control in each band.

The detected amount of dynamics in each band is indicated by the Dynamics meters. Taller bars indicate
EGJ= AF@=J=FL <QF9EA;KAF L@=EMKA;  O@AD= K@GJL=J :9JKAF<A;9L=D=KK <QF9EA;K 9F<9J=?=F=J9DDQ L@=
inverse of the Expansion Ratio meters. The result of settings in the Dynamics Detector to Ratio menu
;9F:=G:K=JN=<GFL@=#PH9FKAGF09LAGE=L=JKAFL@=3F<G+=L=J5AF<GO 

Dynamics Expansion
Meters Ratio Meters

Peak Detector Menu


3F<G E=9KMJ=K 9M<AG H=9CK 9K 9 E=9FK :Q O@A;@ LG K=L L@= =PH9F<=J L@J=K@GD<K :9K=< MHGF L@=
incoming program audio. The Peak Detector Menu controls the attack and release speed of each band of
Undo’s Peak Detectors.

35
Chapter 8: Input Undo Menu

S The Attack speed controls determine how quickly Undo reacts to incoming audio peaks. Faster
settings will make Undo more reactive to smaller incoming peaks by raising the threshold. Slower
settings will effectively lower the threshold.

S The Release speed controls determine how quickly Undo allows the peak values to fall back toward
the actual audio levels. Faster times will cause the peak levels to fall more quickly.

The effect of the Peak Detector settings is represented by the peak “blips” at the top of the dark orange
peak level bars within the Expander Threshold meters in the Undo Meter window. Average levels are
indicated by the bright orange bars.

Peak Blips Average


and Peak Level Level Meters
Meters

Expander Levels Menu


The Expander Levels E=FM ?AN=K QGM 9;;=KK LG L@= 0=D9LAN= 2@J=K@GD<  9F<5A<=:9F< "AKL9F;=
*AEAL 9F<+9PAEME%9AF;GFLJGDKG>=9;@:9F<G>3F<GXK=PH9F<=JK

36
Chapter 8: Input Undo Menu

S The Relative Threshold control for each band determines how far below the currently detected
H=9C L@= =PH9F<=J L@J=K@GD< KALK  *GO=J L@J=K@GD<K EGNAF? L@= KDA<=J LG L@= JA?@L  J=KMDL AF 9
?J=9L=J H=9C LG L@J=K@GD< <AKL9F;= 9F< L@=J=>GJ= HJGNA<= EGJ= =PH9FKAGF  &A?@=J L@J=K@GD<K
EGNAF?L@=KDA<=JLGL@=D=>L F9JJGOL@=H=9C LG L@J=K@GD<<AKL9F;=9F<HJGNA<=D=KK=PH9FKAGF

S 'F 9<<ALAGF LG 9F 9<BMKL9:D= H=J :9F< H=9C <=L=;LGJ OAL@ 9<BMKL9:D= 9LL9;C 9F< J=D=9K= KH==<K
O@GK=>MF;LAGF AK<=K;JA:=<9:GN=AF L@=.=9C "=L=;LGJ E=FM K=;LAGF  =9;@ ;@9FF=D9DKG@9K9
OA<=:9F< H=9C <=L=;LGJ OAL@ YP=< 9LL9;C 9F< J=D=9K= KH==<K  2@= Band<WB Distance Limit
controls determine the greatest distance by which an individual band’s peak detector can fall
J=D9LAN=LGL@=OA<=:9F<D=N=D9F<C==HK9FQGF=:9F<>JGE:=AF?=PH9F<=<A>L@=J=9J=AFKM>Y;A=FL
D=N=DKLG :=?AF OAL@  $GJ =P9EHD= A>L@=;MJJ=FLOA<=:9F<H=9C AK < 9F<L@AK ;GFLJGD AK K=LLG
< L@=H=9C<=L=;LGJ>GJL@9LAF<ANA<M9D:9F<OADDFGL>9DD:=DGO < 

S The Maximum Gain;GFLJGD K=LKL@=9:KGDML=E9PAEME9EGMFLG>?9AF L@9L;9F:=9HHDA=<LGL@=


9M<AGAF=9;@=PH9F<=J:9F<J=?9J<D=KKG>HJG?J9EE9L=JA9DGJ9FQGL@=J;GFLJGDK=LLAF?K

The Distance Limit is represented by the dark red bars in the Expander Thresholds meter in the Undo
Meter window.

Distance
Limit
Meters

Expander Rates Menu


The Expander Rates E=FM HJGNA<=K ;GFLJGDK >GJ L@= 9LL9;C 9F<J=D=9K=KH==<K G> L@= =PH9F<=JK >GJ
each band as well as attack and release speed controls for each band’s speed governors.

37
Chapter 8: Input Undo Menu

S The Expander Attack KH==<;GFLJGD <=L=JEAF=K @GOIMA;CDQ =9;@ :9F<XK =PH9F<=J OADDJAK=O@=F
L@= 9M<AGAK AF F==<G>=PH9FKAGF  $9KL=J K=LLAF?K OADD =PH9F< L@=9M<AGEGJ=IMA;CDQ 3KAF? L@=
:MADL AF GK;ADDGK;GH=LGNA=O L@=3F<G!GFLJGD 1A?F9DH9L;@ HGAFLAKN=JQ@=DH>MD >GJ 9<BMKLAF?9LL9;C
and release speeds as they show the gain that will be applied to the audio in each band. A detailed
=PHD9F9LAGF G> @GO LG EGFALGJ N9JAGMK H9L;@ HGAFLK OAL@AF -EFA9  AK HJGNA<=< AF L@= "AKHD9Q
Settings menu of this manual.

S The Expander Release KH==<;GFLJGD 9<BMKLK @GO IMA;CDQ L@==PH9F<=J D=N=DK OADD >9DD GF;= L@=
=PH9FKAGFAKFGDGF?=J;9DD=<>GJ $9KL=JK=LLAF?KOADD9DDGOL@=D=N=DKLG>9DDEGJ=IMA;CDQ

3F<G 9DKG MLADAR=K 9 K=;GF< K=L G>H9J9DD=D =PH9F<=JK O@A;@ DGGC 9L L@= K9E=AFHML9F<9MLGE9LA;9DDQ
K;9D=L@=9LL9;C 9F<J=D=9K=;@9J9;L=JAKLA;KG>L@=E9AF =PH9F<=JK 2@=K=1H==<%GN=JFGJK<=L=;LO@=F
L@=E9AF =PH9F<=JK@9N=:==FGH=J9LAF?9L>MDD KH==<>GJ9F=PL=F<=<H=JAG<G>LAE=9F<OADD KDGO<GOF
L@=E9AF=PH9F<=JK 

S The Governor Attack speed determines how long the speed governors wait before scaling back
L@= KH==<G> =PH9F<=JK $9KL=J 9LL9;C KH==<K OADD ;9MK=L@=KH==<?GN=JFGJK LG KDGO <GOF L@=
=PH9F<=JKEGJ=IMA;CDQ 

S The Governor Release speed setting determines how quickly the speed governors give up their
AFZM=F;=GFL@=E9AF=PH9F<=JK 

2@==>>=;LG>L@==PH9F<=J9LL9;C 9F<J=D=9K=KH==<K9J=AF<A;9L=<:QL@=Multiband Expander meters


in the Undo Meter window. The levels of the speed governors are indicated in the Speed Governors
window.

38
Chapter 8: Input Undo Menu

Multiband
Expander
Meters

Speed
Governor
Meters

Expander Ratios Menu


#9;@ 3F<G=PH9F<=J :9F< ;9F GH=J9L=AF 9 J9F?= G> J9LAGK :=LO==F  9F< 2@=Minimum Ratio
and Maximum Ratio<=L=JEAF=L@=9:KGDML=EAFAEME9F<E9PAEMEJ9LAGK J=KH=;LAN=DQ >GJ=9;@:9F<

2@=J=9J=L@J==9<<ALAGF9DE=L=JKAFL@=3F<GE=L=JAF?OAF<GO>GJ9M<AGD=N=DK9LL@=AFHMLLG3F<G 9>L=J
L@=<= ;DAHH=J:ML:=>GJ=L@=EMDLA:9F<=PH9F<=JK 9F<9LL@=GMLHMLG>3F<G>GDDGOAF?L@=<= ;DAHH=J9F<
=PH9F<=JK 'F=9;@ ;9K= L@=:JA?@LGJ9F?=:9J AF<A;9L=K9N=J9?=D=N=DK L@=<9JC=JGJ9F?=:9JKAF<A;9L=
H=9CD=N=DK 9F<L@=ZG9LAF?GJ9F?=:DAHKK=JN=9KH=9C@GD<AF<A;9LGJK

Peak Blips
and Peak Level
Meters

Average
Level Meters

39
Chapter 9: FM Menu - Processing for FM

Chapter 9
FM Menu
Processing for FM
You have to start somewhere.

Here is good.

40
Chapter 9: FM Menu - Processing for FM

FM Menu: Processing for FM

You Have to Start Somewhere: The FM Menu


2@=E9AF$++=FM;GFL9AFK>GJKM: E=FMK>GJ.JG;=KKAF? +.6'FHML 0"1 9F<+=L=J-HLAGFK 

5@AD= -EFA9  G>>=JK ;GEHD=L=DQ K=H9J9L= HJG;=KKAF? ;GJ=K >GJ $+  MH  LG L@J== &" ;@9FF=DK  L@J==
KLJ=9EK<=H=F<AF?MHGF ;GFY?MJ9LAGF 9F<9 DGOD9L=F;Q KLM<AG ;GJ=  L@=E9BGJALQG> L@=;GFLJGDK9J=
L@=K9E=>GJ=9;@ 2@=J=OADD:=KGE=<A>>=J=F;=K G>;GMJK= >GJ K=LLAF?KL@9L9J=H=;MDA9JLG9 H9JLA;MD9J
E=<AME $GJ AFKL9F;= &" 9F<1LJ=9EAF? GMLHMLKMK=DGGC 9@=9<DAEAL=JKAFKL=9< G> 9 ;DAHH=J >GJ YF9D
peak control).

Q>9EADA9JARAF?QGMJK=D>OAL@ L@=$+K=;LAGF TO@A;@ AKL@=HJAE9JQ9F<H=J@9HKEGKL>9EADA9JK=;LAGFG>


any processor - you can get to know the menu interfaces and the function of the various controls.

$9AJO9JFAF?2@=J=AKFGK@GJL9?=G>;GFLJGDKAF-EFA9 'LO9K <=DA:=J9L=DQ<=KA?F=<LGHJGNA<=9 N=JQ


;GEHJ=@=FKAN=K=LG>LGGDK9F<?AN=QGM;GEHD=L=>J==<GELG;J=9L==P9;LDQL@=KGMF<QGMO9FL9F<>==D
is best suited to your station in your market.

;GEHD=L=JMF<GOF9F<=PHD9F9LAGFG>L@=N9JAGMKE=FMK>GMF<AFL@=$+HJG;=KKAF?;GJ=AKHJ=K=FL=<
here.

41
Chapter 9: FM Menu - Processing for FM

FM Processing Menu
The FM Processing menu provides access to all sections of the main FM processing core. From this
E=FM QGM;9F DG9<9F<K9N=HJ=K=LK =F9:D=9F<;GFY?MJ=.J=K=L.JGL=;LAGF 9F<9<BMKLH@9K= J=D9L=<
HJG;=KKAF?KM;@ 9KL@=.@9K=1;J9E:D=J .@9K=0GL9LGJ 9F< 9KK #$6 ;AJ;MAL 2@AK AK 9DKGO@=J=QGM
;9F 9<BMKL 9M<AG H9J9E=L=JK AF;DM<AF? L@= "GOFO9J< #PH9F<=JK  'FHML %!  5A<=:9F< %!K 
.9J9E=LJA; #IM9DAR=J  +MDLA:9F< 1L=J=G #F@9F;=J  +MDLA:9F<%! 9F< *AEAL=JK  9F< +AP  "JQ 4GA;=
"=L=;LGJ 9F<!DAHH=J 

Load Preset Menu


The Load PresetE=FM9DDGOKQGMNA=OL@=HJ=K=L;MJJ=FLDQGFL@=9AJ LG??D=:9;C 9F<>GJL@:=LO==FL@=
;MJJ=FL 9F<:9;CMH HJ=K=LK  DG9< 9 F=O HJ=K=L  ;GEH9J=L@= K=LLAF?K G> LOG HJ=K=LK  9F< <=D=L=MK=J
presets.

Highlighting a preset from the list places it in the Load button. Selecting the Load button puts that preset
on the air and moves it up to the Current Preset position. The preset that was previously on the air will
become the Backup Preset. You may also place a preset on the air from the list directly by double tapping
it.

42
Chapter 9: FM Menu - Processing for FM

>L=J;@9F?AF?9FQH9J9E=L=JG>9 HJ=K=L 9F + 9HH=9JKF=PLLGL@=!MJJ=FL.J=K=LF9E=9F<L@=L=PL


LMJFKQ=DDGOLGAF<A;9L=L@=HJ=K=L@9K:==FEG<AY=<:MLFGLQ=LK9N=< 2@= 9;CMH .J=K=L9DKG:=;GE=K
L@= >GJE=J 9F< MFEG<AY=<  !MJJ=FL .J=K=L  2@AK 9DDGOK QGM LG LG??D= :9;C 9F< >GJL@ LG @=9J L@=
<A>>=J=F;=:=LO==F L@=GJA?AF9D 9F<EG<AY=<HJ=K=LKGF 9AJ:QKAEHDQ;DA;CAF?L@=:9;CMH :MLLGF LGKO9H
the current and backup slots.

!@9F?=K LG=9;@ H9J9E=L=J QGM 9<BMKL=<LG;J=9L=L@=EG<AY=<HJ=K=L9J=9DKG<AKHD9Q=<AF Q=DDGO GF


L@=KH=;AY; ;GFLJGD:MLLGFAF=9;@K=;LAGF G>L@=HJG;=KKAF?;GJ= HJGNA<AF?9FAFKL9FLNAKM9D;GEH9JAKGF
:=LO==FL@=EG<AY=<HJ=K=L9F<L@=GJA?AF9DHJ=K=LMHGFO@A;@ALAK:9K=<
You can also compare the differences between the Current Preset and the Backup Preset by selecting
the Diff Preset button. Any control settings in the Current Preset that are different from those in the
9;CMH .J=K=LOADD := <AKHD9Q=< AF Q=DDGO AF L@=AJ J=KH=;LAN=K=;LAGFK  'F 9<<ALAGF  L@=:9;CMH N9DM=G>
each control is indicated by a small arrow on the bottom of the control itself.

Selecting the Delete Preset button allows you to permanently delete user-created presets. Factory
presets cannot be deleted.

Save Preset Menu


The Save Preset menu allows you to edit the name of or save over a user preset.

S 7GM ;9F J=F9E= QGMJ ;MJJ=FL HJ=K=L  J=?9J<D=KK G> O@=L@=J GJ FGL AK @9K :==F EG<AY=<  :Q
selecting the Edit Preset Name:MLLGFLG:JAF?MH L@=GF K;J==FC=Q:G9J< 2QH=AFL@=F=OF9E= 
K=D=;LU-)V 9F<K=D=;L19N=.J=K=L 2@=F=OHJ=K=LOADDFGO9HH=9JAFL@=DAKL

S '>QGMJ!MJJ=FL.J=K=L@9K:==FEG<AY=< QGM9DKG@9N=L@=GHLAGF LGOJAL=GN=JL@==PAKLAF?HJ=K=L


without renaming it by selecting Save Preset.

2@9LK9A< O=KLJGF?DQJ=;GEE=F<L@9L9>L=JQGMXN=E9<=KGE=9<BMKLE=FLK9F<9J=J=9<QLGK9N=L@GK=
changes to a Custom Preset you give it a unique name and instead of saving directly over your current
N=JKAGF  2@9L O9Q  K@GMD< L@=J= ;GE= 9 LAE= O@=F QGM O9FL LG J=N=JL LG 9 HJ=NAGMK AF;9JF9LAGF G> 9
HJ=K=L QGM;9F<GKG 7GM;9FFGL @GO=N=J A>QGM;GFLAFM9DDQK9N=GN=JL@=K9E=HJ=K=LL@JGM?@GMLQGMJ
9<BMKLE=FLHJG;=KKAFKL=9<G>?ANAF?AL9MFAIM=F9E=

)==HAFEAF<L@9LQGM;9FFGL?AN=9!MKLGE.J=K=LL@=K9E=F9E=9K9F=PAKLAF?$9;LGJQ.J=K=L

43
Chapter 9: FM Menu - Processing for FM

Preset Protection Menu


The Preset Protection +=FM 9DDGOKQGM LG H9KKOGJ<HJGL=;L 9 HJ=K=LKG L@9LAL;9FFGL:=EG<AY=<GJ
;GHA=<>GJMK=AF9FGL@=J-EFA9  'F 9<<ALAGF L@=K=LLAF?K>GJL@AKHJ=K=LOADD:=@A<<=F>JGENA=O9KDGF?
as the preset is locked.

2GH9KKOGJ<HJGL=;L 9 HJ=K=L =FL=J9 H9KKOGJ< ;DA;C GF U-) V9F<L@=FGF U.JGL=;L.J=K=L VO9JFAF?
<A9DG?M= :GP OADD 9HH=9J  '> QGMJ AFL=FLAGF J=9DDQ AK LGHJGL=;LL@=HJ=K=L  K=D=;L U7=K V2@= YF9D KL=H AK
K9NAF?L@=F=O HJGL=;L=<HJ=K=LOAL@ 9MFAIM=F9E=AFL@=19N=.J=K=LE=FM .JGL=;L=<HJ=K=LK9HH=9J
in green in the Load Preset menu. Remember not to accidentally leave an unencrypted version your
HJ=K=LAFL@= 9;CMH.J=K=LKDGL

2GMF HJGL=;L9HJ=K=L J=LMJFLGL@=.J=K=L.JGL=;LAGFE=FM =FL=JQGMJH9KKOGJ< ;DA;CGFU-) V9F<L@=F


on “Unlock Preset.”

Phase Processing Menu


The Phase Processing E=FM ;GFL9AFK L@= ;GFLJGDK >GJ =F9:DAF? L@= H@9K= K;J9E:D=J  =F9:DAF? 9F<
9<BMKLAF?L@=H@9K=JGL9LGJ 9F<=F9:DAF?9F<9<BMKLAF?L@= 9KK #$6;GFLJGD

44
Chapter 9: FM Menu - Processing for FM

S The Phase Scrambler button enables or disables the phase scrambler. Certain sharp sounds with
@A?@ @9JEGFA; ;GFL=FL KM;@ 9K LJMEH=LK GJ KGE= KQFL@=KAR=< KGMF<K  9J= DGO AF =F=J?Q :ML
;GFL9AF@A?@H=9CK 1AF;=H=9CKEMKL:=DAEAL=<LGHJ=N=FLGN=J <=NA9LAGFG>L@=$+;9JJA=J 9F<L@=
E9BGJALQG>L@GK=H=9CKOADD:=J=EGN=<:Q;DAHHAF? L@=KGMF<E9Q:=;GE=<MDD9F<<AKLGJL=< 2@=
.@9K= 1;J9E:D=J  OAL@GML =EHDGQAF? DAEALAF? GJ ;DAHHAF? G> ALK GOF  KDA?@LDQ G>>K=LK L@= N9JAGMK
@9JEGFA;KHJ=K=FLAF L@=9M<AGLG<J9KLA;9DDQ DGO=JL@=H=9C D=N=D L@=J=:Q9DDGOAF?EM;@ EGJ=G>
L@=9M<AGLGH9KKL@JGM?@ L@=YF9D;DAHH=J 2@=J=KMDLAK9 <J9E9LA;9DDQAEHJGN=<@A?@ =F<9F<D=KK
distortion.

S The Phase Rotator button enables or disables the phase rotator. Phase rotation is recommended
primarily for stations airing talk programming who are also trying to achieve high levels of loudness
9KAL;9F9<N=JK=DQ9>>=;LLJ9FKA=FLUHMF;@V<=KAJ9:D=GFEMKA; >GJE9LK 2@=*=N=D1DA<=J9<BMKLKL@=
amount of phase rotation. Carefully monitor the MPX Output signal on the oscilloscope while
DAKL=FAF?LG<JQNGA;=9F<9<N9F;=L@=KDA<=JBMKL=FGM?@LG9;@A=N=KQEE=LJA;9DH=9CK 2@=<=>9MDL
setting is 2.

S The Bass-EFX E=FM 9DDGOK QGM LG =F9:D= GJ <AK9:D=L@= 9KK #$6 >=9LMJ= 9F< O@=F =F9:D=< 
9<BMKLL@=D=N=D G> 9KK #$6 HJG;=KKAF? 5@=F MK=<AF ;GFBMF;LAGF OAL@ @=9NA=J GN=J9DD D=N=DKG>
HJG;=KKAF?  9KK #$6@=DHKJ=L9AF L@=HMF;@ G>DGO >J=IM=F;QLJ9FKA=FLKKM;@9KL@GK=>GMF<AF9
CA;C <JME:QKHJ=9<AF?L@=:9KK=F=J?QGMLAFLAE= L@MK9DDGOAF?EGJ=G>L@==F=J?QG>9:9KKCA;C
to pass through the clippers. Bass-EFX does not itself add energy.

Downward Expanders Menu


The Downward Expanders E=FM 9DDGOK QGM LG ;GFLJGD L@= E9PAEME ?9AF J=<M;LAGF <GOFO9J<
=PH9FKAGF >GJ9DD:9F<KAF L@="GOFO9J<#PH9F<=JKK=;LAGF 9KO=DD9KL@=L@J=K@GD< 9LL9;C 9F<J=D=9K=
KH==<K>GJ=9;@AF<ANA<M9D:9F< 2@=LGL9DFME:=JG>:9F<K9N9AD9:D=AFL@="GOFO9J<#PH9F<=JKK=;LAGF
is determined by the number of bands of processing used in the Current Preset.

2@="GOFO9J< #PH9F<=JK GH=J9L=K AF 9 E9FF=J KAEAD9J LG 9 LJ9<ALAGF9D UFGAK= ?9L= V 9F< AK MK=>MD >GJ
reducing unwanted background noise from less-than-perfect program material or from a noisy studio
=FNAJGFE=FL 2@=J9LAGG>L@=K==PH9F<=JKAK

S The Maximum Gain Reduction control determines the greatest amount of gain reduction for all
available bands.

45
Chapter 9: FM Menu - Processing for FM

S The Threshold ;GFLJGD >GJ =9;@ :9F<K=LK L@=HGAFL 9L O@A;@ <GOFO9J< =PH9FKAGF :=?AFK 2@=
range of this control is from -90 to 0dB. The Threshold (Coupled) control allows all bands to be
9<BMKL=<KAEMDL9F=GMKDQ:Q9FA<=FLA;9D9EGMFL

S The Attack ;GFLJGD<=L=JEAF=KL@=KH==<OAL@O@A;@ L@="GOFO9J<#PH9F<=JK9;LLGJ=<M;=?9AF


in each band when the program audio falls below the threshold. Lower settings provide slower
9LL9;CKH==<K O@AD=@A?@=JK=LLAF?KJ=KMDLAF>9KL=J9LL9;CKH==<K

S The Release;GFLJGD <=L=JEAF=KL@=KH==<OAL@O@A;@L@="GOFO9J<#PH9F<=JK9;LLGJ=LMJF ?9AF


to each band when the program audio rises above threshold. Lower settings provide slower release
KH==<K O@AD=@A?@=JK=LLAF?KJ=KMDLAF>9KL=JJ=D=9K=KH==<K

Input AGC Menu


The Input AGC +=FM AK MK=< LG K=L L@= J9LAG  E9PAEME ?9AF  9LL9;C J9L=  J=D=9K= J9L=  L9J?=L  ?9L=
L@J=K@GD< >J==R=L@J=K@GD< 9F<KA<=;@9AF=IM9DAR=J;GFLJGDK

2@='FHML%! AKL@=YJKL?9AF ;GFLJGDKL9?=AF -EFA9  >GDDGOAF?3F<G 9F<AK<=KA?F=<LG:=MK=<9K9


slower-acting leveler ahead of the Wideband AGC1 and multiband compressor sections that follow it.

It is worth noting that traditional processors only act upon audio above a particular threshold. They are
<JAN=FAFLGN9JAGMK9EGMFLKG>?9AF J=<M;LAGF :MLGF;=L@=9M<AG>9DDK :=DGOL@=L@J=K@GD< L@=QUJMF GML
G>JGGEVGJ ULGH GML V9F<9J=AF;9H9:D=G>AF;J=9KAF?L@= 9M<AG9FQ >MJL@=J 2@=QJ=IMAJ=KGE=KGJLG>
make-up gain control later in the audio chain. The compressors in Omnia.9 operate above AND below
L@J=K@GD< ;GFLJGDDAF?L@=<QF9EA;KGN=J9EM;@OA<=JJ9F?=9F<<GFGLJ=IMAJ=E9C=MH?9AF 

S The Ratio control determines how much the output audio will be increased or decreased in
J=D9LAGFK@AH LGL@=AFHML9M<AGG>L@='FHML%!K=;LAGF $GJ=P9EHD= 9J9LAGG>E=9FK>GJ=N=JQ
< G> ;@9F?= AF L@=D=N=D G>L@=AFHML9M<AG  L@= GMLHMLOADD :=;@9F?=< :Q <  *GO=J DGGK=J 
K=LLAF?K HJGNA<=D=KK;GFLJGD G>L@=<QF9EA;KAF L@AKK=;LAGF:MLHJGNA<=9EGJ=GH=FKGMF< O@AD=
@A?@=J LA?@L=J K=LLAF?KHJGNA<=EGJ=;GFLJGD9LL@==PH=FK=G>GH=FF=KK 2@=J9F?=G>L@AK;GFLJGD
AK LG'FYFALQ

S The Maximum Gain ;GFLJGD OGJCK AF ;GFBMF;LAGF OAL@ L@=09LAG ;GFLJGD LG <=L=JEAF= @GO EM;@
?9AF AK 9N9AD9:D= :=DGO L@J=K@GD<  '> L@= 'FHML %! 09LAG AK K=L 9L 'FYFALQ 9F< L@= 'FHML %!
+9PAEME%9AFAKK=LLG< L@='FHML%!@9K< G>J9F?=:=DGOL@J=K@GD< L9J9LAGG> 
9F<L@=K9E=+9PAEME?9AF K=LLAF? L@=J9F?=AKJ=<M;=<:Q@9D>LG< 2@=K;9D=LGL@=D=>LG>

46
Chapter 9: FM Menu - Processing for FM

L@='FHML%! E=L=J 9MLGE9LA;9DDQ 9<BMKLK 9K F==<=<O@=F ;@9F?=K 9J=E9<=LGL@= 'FHML%!


+9PAEME %9AF GJ L@='FHML%!09LAG LG 9;;MJ9L=DQ J=Z=;L @GO EM;@ J9F?=AK 9N9AD9:D= :=DGO
threshold.

S The Attack control determines the speed with which the Input AGC acts to reduce audio above
threshold. Lower settings represent slower attack speeds and allow more audio to pass
unprocessed by the Input AGC into subsequent processing stages. Higher settings result in faster
attack speeds and allow less unprocessed audio to enter subsequent sections. Because all of
-EFA9 XK HJG;=KKAF?KL9?=K9J=LGKGE= =PL=FLHJG?J9E <=H=F<=FL  HMLLAF? 9;LM9D E=9KMJ=KG>
LAE=GFL@=K=;GFLJGDKOGMD<:=HGAFLD=KK 9F<KGL@=FME:=JKGFL@=N9JAGMKLL9;C 9F<0=D=9K=
controls throughout are simply relative numbers.

S The Release control determines the speed with which the Input AGC increases audio below
L@J=K@GD<  *GO=J K=LLAF?K HJGNA<= KDGO=J J=D=9K= KH==<K  O@AD= @A?@=J K=LLAF?K J=KMDL AF >9KL=J
release speeds.

S The Target control sets the target output level of the Input AGC. A lower setting results in a lower
GMLHML D=N=D  O@AD= @A?@=J K=LLAF?K HJGNA<= 9 @A?@=J GMLHML D=N=D  2@AK AK KAEAD9J LG 9 LJ9<ALAGF9D
“threshold” control when the levels are below the target.

S The Gate Threshold and Freeze Threshold controls work together to determine the points at
O@A;@L@=J=D=9K=J9L=G>L@='FHML%!KDGOK:Q9>9;LGJG> ?9L=L@J=K@GD< GJ>J==R=K9DLG?=L@=J
>J==R=L@J=K@GD< 2@=J9F?= G> L@=K=;GFLJGDKAK < LG<  *GO=J K=LLAF?KE=9FKL@=9M<AG
EMKL<JGH LG9 DGO=J D=N=D :=>GJ=L@=J=D=9K=KH==<KDGOKGJ >J==R=K &A?@=J K=LLAF?K E=9FK L@=
audio doesn’t have to drop as much in level before the input AGC gain slows down or stops. Using
higher settings when employing faster Input AGC release speeds can keep the audio from being
AF;J=9K=<LGGIMA;CDQGJ LGGEM;@ <MJAF?IMA=L=J H9KK9?=KGJ H9MK=K '> L@= <AKHD9Q AK KAR=<9F<
;GFY?MJ=< AF KM;@ 9 O9Q L@9L L@='FHML%!E=L=J AK K@GOF N=JLA;9DDQ  9 %9L= ;GF<ALAGF OADD :=
AF<A;9L=<:Q9<AE <9JCJ=<:9J9LL@=:GLLGEG>L@=E=L=J $J==R=;GF<ALAGFOADD:=AF<A;9L=<:Q9
brighter dark red bar.

S 2@='FHML%! >=9LMJ=K9 >MDDQ 9<BMKL9:D=  :9F<Sidechain Equalizer O@A;@9DDGOKQGM LGE9C=


it more or less sensitive to particular frequencies. When the controls are not set to cut or boost any
>J=IM=F;Q  L@='FHML%! J=9;LK LGL@= >MDD 9M<AG KH=;LJME 5@=F K=L LG;MLGJ :GGKL9 H9JLA;MD9J
J9F?=G>>J=IM=F;A=K L@='FHML%!:=;GE=KD=KKK=FKALAN=;ML GJEGJ=K=FKALAN=:GGKL 

'F KGE==9JDA=J KG>LO9J=N=JKAGFK L@=KA<=;@9AF #/ O9KFGL9<BMKL9:D=ALO9KKAEHDQ=F9:D=<GJ


<AK9:D=< $GJJ=>=J=F;= L@=U@A<<=FV.#/ K=LLAF?KO=J=9  G;L9N= OA<=;MLG>< 9L&R9F<
9 G;L9N= OA<=;MLG>< 9L&R 

'F9<<ALAGF 9F9KKGJLE=FLG>HJ= ;GFY?MJ=<YDL=JK9J=9N9AD9:D= AF;DM<AF?9 *GO.9KK$ADL=J 9&A?@


.9KK$ADL=J 9 9F<.9KK$ADL=J 9,GL;@$ADL=J 9*GO1@=D>#/ 9F<9&A?@1@=D>#/

S The Type<JGH<GOFE=FM<=L=JEAF=KO@9LLQH=G>#/GJYDL=JAK=EHDGQ=<

S The Frequency slider is used to set the center frequency for each band. The range of this
;GFLJGDAKLG &R

S The Width slider determines how much audio above and below the center frequency will also
be affected by any boosts or cuts in gain. The range of this control is 0.0 to 10.0 octaves in one-
L=FL@G;L9N=AF;J=E=FLK *GO=JN9DM=K HJGNA<=9 F9JJGO=J K@9JH=J  :GGKLGJ;ML O@AD=@A?@=J
values provide a wider (gentler) boost or cut.

47
Chapter 9: FM Menu - Processing for FM

S The Gain slider determines how much the audio selected with a combination of the Frequency
and Width sliders is boosted or cut. Each band can be boosted or cut by 12dB in one-quarter
dB increments for a total range of 24db per band.

S Note: You can see a visual representation of the sidechain EQ curve in a display window
DB8=6 &<=80 OB 1D8;C8= )+ 1H =0E860C8=6 C> $ 'A>24BB8=6 8B?;0H *4CC8=6B 0=3
27>>B8=6 C74*8342708= *8342708=>?C8>=  5D;; 4G?;0=0C8>=>5 8B?;0H *4CC8=6B 8B
provided later in this chapter.

Wideband AGC1 Menu


The Wideband AGC1 E=FM HJGNA<=K 9;;=KK LG L@= KA<=;@9AF <=D9Q  E9PAEME ?9AF  E9PAEME ?9AF
J=<M;LAGF J9LAG 9LL9;C J=D=9K= HJG?J=KKAN=J=D=9K= L9J?=L ?9L=L@J=K@GD< >J==R=L@J=K@GD< 9F<L@J==
:9F<KA<=;@9AFH9J9E=LJA;=IM9DAR=J;GFLJGDK

S The Wideband AGC1 Enable:MLLGF=F9:D=KL@AKK=;LAGF O@A;@>GDDGOKL@='FHML%! K=;LAGF9F<


provides additional wideband compression as determined by its various controls. Disabling the
Wideband AGC1 also makes this patch point unavailable in an oscilloscope or RTA display window.

S The Bypass:MLLGF J=EGN=KL@=5A<=:9F<%! ;GEHJ=KKGJ >JGE L@=9M<AGH9L@ :MLALKH9L;@


point remains an available option for viewing on the oscilloscope or RTA via the Display Settings
menu.

S The Sidechain Delay feature is useful for both adding punch and managing the amount of low
frequency power (while increasing bass punch). This is an especially useful “trick” for maintaining
apparent loudness when operating under MPX Power regulations.

S The Maximum Gain  Ratio  Attack rate Release J9L=  Target  Gate Threshold  9F< Freeze
Threshold controls work in the same manner as their counterparts in the other sections of the
-EFA9  &GO=N=J L@=+9PAEME%9AF;GFLJGDAFL@=5A<=:9F<%!K=;LAGF@9K9J9F?=G>< 

S The Maximum Gain Reduction;GFLJGDK=LKL@=E9PAEME9EGMFLG>?9AFJ=<M;LAGF HGKKA:D=AFL@=


5A<=:9F<%!;GEHJ=KKGJ 9F<AK9<BMKL9:D=>JGELG< AFGF= IM9JL=J< AF;J=E=FLK

S The Progressive Release control determines the degree to which the Wideband AGC1
compressor releases its gain at a faster rate as the audio is driven further toward or into gain
J=<M;LAGF L9K=LLAF?G> L@=;GFLJGD@9KFG=>>=;L9F<L@=0=D=9K=KH==<;GFLJGD>MDDQ<=L=JEAF=K

48
Chapter 9: FM Menu - Processing for FM

the rate of release. Increasing the setting progressively makes the release speed of the audio faster
as gain decreases.

S The 3-band Sidechain Equalizer can be used to make the Wideband AGC1 more or less sensitive
LGL@=>J=IM=F;A=K <=L=JEAF=<:Q L@=$J=IM=F;Q 5A<L@ 9F<%9AF ;GFLJGDK O@A;@ >MF;LAGF =P9;LDQ
like their counterparts in the Input AGC section above. A PEQ preview patch point similar to the one
described in the Input AGC section is also available here.

Parametric Equalizer Menu


The Parametric Equalizer E=FM 9DDGOK QGM LG K=L MH L@=  :9F< H@9K= DAF=9J H9J9E=LJA; =IM9DAR=J 
O@A;@AKDG;9L=<BMKL9@=9<G>L@=EMDLA:9F<K=;LAGFG>L@=HJG;=KKAF?;GJ= 'F9<<ALAGF 9F 9KKGJLE=FLG>
HJ= ;GFY?MJ=<YDL=JK9J=9N9AD9:D= AF;DM<AF?9 *GO.9KK$ADL=J 9 &A?@ .9KK$ADL=J 9 9F<.9KK$ADL=J 9
,GL;@$ADL=J 9*GO1@=D>#/ 9F<9&A?@1@=D>#/

S The Bypass:MLLGFJ=EGN=KL@==IM9DAR=J>JGEL@=9M<AGH9L@

S The Type<JGH<GOFE=FM<=L=JEAF=KO@9LLQH=G>#/GJYDL=JAK=EHDGQ=<

S The Frequency slider is used to set the center frequency for each band. The range of this control is
LG &R

S The Width slider determines how much audio above and below the center frequency will also be
affected by any boosts or cuts in gain. The range of this control is 0.0 to 10.0 octaves in one-tenth
G;L9N= AF;J=E=FLK  *GO=J N9DM=K HJGNA<=9 F9JJGO=J K@9JH=J  :GGKL GJ ;ML  O@AD= @A?@=J N9DM=K
provide a wider (gentler) boost or cut.

S The Gain slider determines how much the audio selected with a combination of the Frequency and
Width sliders is boosted or cut. Each band can be boosted or cut by 12dB in one-quarter dB
increments for a total range of 24db per band.

DL@GM?@ ;@9F?=K E9<=AF L@= H9J9E=LJA; =IM9DAR=J K=;LAGF 9J= G>>K=LKGE=O@9L :Q L@= 9;LAGF G> L@=
EMDLA:9F<;GEHJ=KKGJKL@9L>GDDGO L@AK <G=K FGLG;;MJ LGL@=<=?J==QGM EA?@L=PH=;L:9K=<MHGFQGMJ
=PH=JA=F;=OAL@ GL@=J HJG;=KKGJK 2@=H9J9E=LJA; =IM9DAR=J AF -EFA9  AK9 N=JQN=JK9LAD=9F<HGO=J>MD
tool for creating your on-air sound. A visual representation of the effects of the PEQ using the built-in real
LAE=9F9DQR=J;9F:=K==FAFL@=02HGJLAGFG>L@="AKHD9Q1=LLAF?KK=;LAGFG>L@AKE9FM9D

49
Chapter 9: FM Menu - Processing for FM

Stereo Enhancer Menu


-EFA9  G>>=JK9 MFAIM=EMDLA :9F<1L=J=G#F@9F;=J O@GK=LGL9D FME:=JG>:9F<KAK<=L=JEAF=<:QL@=
FME:=JG>:9F<KG>HJG;=KKAF?MK=<AFL@=!MJJ=FL.J=K=L 0=?9J<D=KK ALF=N=J OGJCKGF:9KK O@A;@AK
O@Q 9F<AKF=N=JJ=HJ=K=FL=<9F< 9F< E9Q:=?J9Q=<GML 2@AK9HHJG9;@ KA?FAY;9FLDQJ=<M;=KL@=
;@9F;=L@9LIMA=L=J @9J< H9FF=<KL=J=GKGMF<KAF 9J=;GJ<AF?OAL@9KLJGF?;=FL=J=<EGFGKGMF<OADD:=
shifted out of phase and offers much greater control over the stereo enhancement available in various
portions of the spectrum.

S The Stereo Enhancer E=FM ?AN=K QGM 9;;=KK LG L@= 29J?=L  +9PAEME %9AF  +9PAEME %9AF
0=<M;LAGF LL9;CKH==< 9F<0=D=9K=KH==<G>=9;@G>ALK:9F<K 

S The Enable control turns the Stereo Enhancer on or off.

S The Target Width control determines the ratio of L+R to L-R. Higher settings provide more stereo
=F@9F;=E=FL <BMKLL@AK;GFLJGD;9J=>MDDQLG9NGA<LMJFAF?L@=KL=J=GAE9?=UAFKA<=GMLV:Q9DDGOAF?
L-R to overpower L+R which ruins mono compatibility and increases multipath distortion.

S The Maximum Gain control determines how much the Stereo Enhancer can increase L/R
separation in an effort to achieve the Target Width in program material that has a narrow stereo
image. The range is between 0 and 18dB.

S The Maximum Attenuation control determines how much the Stereo Enhancer can reduce L/R
separation in an effort to achieve the Target Width in program material that already has a wide
stereo image. The range is between 0 and 18dB.

S The Attack control determines the speed at which the stereo image is narrowed. The Release
control determines the speed at which the stereo image is widened.

S The Target Width;GMHD=< Maximum Gain;GMHD=< Maximum Attenuation;GMHD=< Attack


(coupled) and Release;GMHD=<  ;GFLJGDK9DDGO QGM LG9<BMKL9DD L@=:9F<K KAEMDL9F=GMKDQ :Q 9F
equal amount in their corresponding sections.

Multiband Setup Menu


The Multiband Setup menu provides control over the number of processing bands employed as well as
L@=E9PAEME ?9AF HJG?J=KKAN=J=D=9K= ?9L=L@J=K@GD< >J==R=L@J=K@GD<  9F<?9L=<=D9Q;GFLJGDK DKG
found here are the enable buttons for gain reduction override and controls for the gain reduction ratio.

50
Chapter 9: FM Menu - Processing for FM

S The Band slider determines the number of bands in the multiband processing section and ranges
from 2 to 7.

S The Maximum Gain Ratio  Gate Threshold 9F<Freeze Threshold controls work in the same
manner as their counterparts in other sections of the Omnia.9.

S The Gate Delay;GFLJGD <=L=JEAF=K @GO DGF?L@=%9L=2@J=K@GD<9F<$J==R=2@J=K@GD< ;GFLJGDK


wait before they begin working. The range of this control is between 0 and 255ms. Setting the
control to “0” means that as soon as audio falls below the threshold as determined by the settings
G>L@=%9L=9F<$J==R=;GFLJGDK ALAEE=<A9L=DQKDGOKGJKLGHK J=KH=;LAN=DQ &A?@=JK=LLAF?KE=9FAL
will take longer for the release of the audio to slow or stop. A Gate condition will be indicated by a
<AE <9JC J=<:9J9LL@=:GLLGE G>L@=EMDLA:9F<E=L=JK $J==R=;GF<ALAGF OADD :=AF<A;9L=<:Q9
brighter dark red bar.

S Note: *4CC8=6C740C44;0H<D27;>F4AC70=C743450D;CB4CC8=6>5<BF8;;20DB4C7460C4C>
take effect during the brief pauses in dry speech, resulting in a much lower volume level from
an announcer mic, for instance, as compared to music. Used creatively, this is actually a very
DB45D;C>>;5>A2>=CA>;;8=60==>D=24A
<DB82;4E4;10;0=24

S The Progressive Release control determines the degree to which the Multiband compressor
releases its gain at a faster rate when the audio is driven further toward or into gain reduction. At a
K=LLAF?G>   L@=;GFLJGD @9K FG=>>=;L9F<L@=0=D=9K= KH==<;GFLJGD >MDDQ <=L=JEAF=KL@=J9L=G>
release both below and above threshold. Increasing the setting progressively makes the release
speed of the audio faster as gain decreases.

S The Gate Threshold and Freeze Threshold controls work in the same manner as their
counterparts in the other sections of the Omnia.9.

S The Gain Reduction Ratio Override and Gain Reduction Ratio controls work together to let you
K=L9<A>>=J=FLJ9LAG>GJ =9;@:9F<O@=F 9M<AGAFL@9L:9F<;JGKK=K9:GN=L@J=K@GD<TL@9LAK O@=F
it is driven into gain reduction. The ratio for audio below threshold is always determined by the
09LAG ;GFLJGD >GJ 9DD :9F<K  1H=;AY;9DDQ  L@= %9AF 0=<M;LAGF 09LAG -N=JJA<= ;GFLJGD =F9:D=K GJ
<AK9:D=K L@= %9AF 0=<M;LAGF 09LAG ;GFLJGDK  O@A;@ 9J=KDA<=JK L@9L D=L QGM K=L L@= J9LAGG> 9M<AG
above threshold from 1:1 to Inf:1.

51
Chapter 9: FM Menu - Processing for FM

It is worth mentioning again here the importance of a concept unique to Omnia.9. Most (if not all) other
HJG;=KKGJKULGHGML9LVTL@9LAK L@=Q;GFKL9FLDQGH=J9L=AF9KL9L=G>?9AF J=<M;LAGF 9F<GF;=L@=9M<AG
>9DDK :=DGO L@J=K@GD<  L@=Q ;9F FGDGF?=J AF;J=9K=AL9FQ >MJL@=J  2GE9C=MH >GJ L@=>9;LL@9LL@=Q 9J=
;9H9:D= GFDQ G>J=<M;AF? ?9AF  L@=Q J=DQ MHGF 9 UE9C=MH ?9AFV ;GFLJGD KGE=O@=J= <GOFKLJ=9E AF L@=
9M<AG;@9AFLG?=LL@=D=N=DK:9;C MH -EFA9 AKFGLGFDQ;9H9:D=G>?9AFJ=<M;LAGFTL@9LAK <JANAF?9M<AG
D=N=DK9:GN=L@J=K@GD<9K GL@=J HJG;=KKGJK <GT:MLAK 9DKG;9H9:D=G>AF;J=9KAF??9AF :=DGO L@J=K@GD< 
which makes it possible to employ powerful controls like Progressive Release and Gain Reduction Ratio
Override.

Multiband Attack/Release Menu


The Multiband Attack/Release section lets you control the Attack Speed and Release Speed of each
band in the multiband AGC section.

S The Attack speed and Release speed controls work in the same manner as their counterparts in
L@= GL@=J K=;LAGFK G>L@= -EFA9  &GO=N=J L@= :=@9NAGJ G> L@= EMDLA:9F<%!;GEHJ=KKGJKAK
also program-dependent.

S The Attack (coupled) ;GFLJGD 9DDGOK QGM LG 9<BMKL L@= 9LL9;C KH==< G> 9DD G> L@= :9F<K
simultaneously by an equal amount.

S The Release (coupled) ;GFLJGD 9DDGOK QGM LG 9<BMKL L@= J=D=9K= KH==< G> 9DD L@= :9F<K
simultaneously by and equal amount.

S The Speed (coupled) ;GFLJGD9DDGOKQGM LG9<BMKL:GL@L@=LL9;C KH==<9F<0=D=9K=KH==<G>9DD


the bands simultaneously by an equal amount.

S The Peak Sense (Coupled) ;GFLJGD KAEMDL9F=GMKDQ 9<BMKLK L@= 9LL9;C 9F< J=D=9K= J9L=K :ML AF
opposition to one another. Sliding the control to the right increases the attack rate and slows the
J=D=9K=J9L= E9CAF?ALEGJ=H=9CK=FKALAN= 1DA<AF?L@=;GFLJGDLGL@=D=>L<=;J=9K=KL@=9LL9;CJ9L=
9F<KH==<KMHL@=J=D=9K=J9L= E9CAF?ALD=KKH=9CK=FKALAN=

2@=9LL9;C9F<J=D=9K=KH==<KG>L@=EMDLA:9F<DAEAL=JK9J=HJG?J9E <=H=F<=FL9F<FGL9<BMKL9:D=

Multiband Thresholds Menu


The Multiband Thresholds menu allows you to set the target for each of the Multiband AGC bands as
well as the threshold for each band of the Multiband Limiters. The total number of bands available in the

52
Chapter 9: FM Menu - Processing for FM

Multiband Thresholds section is determined by the number of bands of processing used in the Current
Preset.


S The AGC Target controls set the target output level of each band of the Multiband AGC. A lower
K=LLAF?HJGNA<=K 9 DGO=J GMLHMLD=N=D  O@AD=9 @A?@=J K=LLAF? HJGNA<=K9 @A?@=J GMLHMLD=N=D 2@=K=
controls have a range between +12 and -12dB in one-tenth dB increments.

S The Limiter Threshold controls determine at which point the Multiband Limiter acts upon the
AF;GEAF? 9M<AG>GJ ALK H9JLA;MD9J :9F< J=D9LAN= LG ALK ;GJJ=KHGF<AF?%! 29J?=L  $GJ =P9EHD=  9
setting of +6dB means that any peaks of less 6dB above the AGC Target level will not be processed
by the limiter. These controls have a range between +18 and 0dB in one-tenth dB increments.

Dry Voice Detection Menu


The Dry Voice Detection+=FM ;GFL9AFKL@=;GFLJGDKLG=F9:D=L@=<JQ NGA;=<=L=;LGJ;AJ;MAL9F<9<BMKL
the dynamics section of Omnia.9 when this feature is engaged.

"JQNGA;= AK GF=G> L@= EGKL<A>Y;MDL O9N=>GJEK LG HJG;=KK ;D=9FDQ 9K L@=@ME9F NGA;=AK ;GEHD=P AF
nature and is typically asymmetrical in form. Stations that choose to process aggressively in an effort to

53
Chapter 9: FM Menu - Processing for FM

E9PAEAR= DGM<F=KK E9Q YF< L@9L :9J= NG;9DK ;GE= L@JGM?@ OAL@ MF9;;=HL9:DQ @A?@ D=N=DK G> 9M<A:D=
distortion.

Omnia.9 overcomes this situation by automatically detecting (in the Auto mode) when the input audio is
<JQNGA;=9F<MKAF?9 K=H9J9L=K=LG>EMDLA:9F<L9J?=LK 9LL9;C J9L=K 9F<J=D=9K=J9L=K 2@AK9DDGOKL@=
dynamics section to do more of the “heavy lifting” and reduces the amount of clipping necessary to
maintain the same level of loudness.

S The Dry Voice<JGH<GOFE=FM;9F:=K=LLGU->>V UMLGV GJU$GJ;=V U->>V;GEHD=L=DQLMJFKG>>L@AK


feature. “Auto” allows the processor to automatically detect the presence of dry voice. “Force”
GN=JJA<=K L@=E9AF EMDLA:9F<K=LLAF?K 9F<MK=KL@="JQ4GA;="=L=;LAGF K=LLAF?K9L 9DDLAE=K 2@=
<=>9MDLK=LLAF?<=H=F<KMHGFHJ=K=L;@GK=FEGKLHJ=K=LK@9N=L@AK>=9LMJ=<K=LLGU->>V:Q<=>9MDL 
O@AD=L@=<=>9MDLK=LLAF?>GJEGJ=9??J=KKAN= DGM<F=KK <JAN=FHJ=K=LKAKUMLG V

S The Attack Release  Target Limiter Threshold Attack (Coupled) Release (Coupled) Speed
(Coupled) and Target (Coupled) ;GFLJGDK HJGNA<= J=D9LAN= 9<BMKLE=FLK J=>=J=F;=< LG L@=AJ
counterparts in the Multiband section.

S The Peak Sense (Coupled) ;GFLJGD KAEMDL9F=GMKDQ 9<BMKLK L@= 9LL9;C 9F< J=D=9K= J9L=K :ML AF
opposition to one another. Sliding the control to the right increases the attack rate and slows the
J=D=9K=J9L= E9CAF?ALEGJ=H=9CK=FKALAN= 1DA<AF?L@=;GFLJGDLGL@=D=>L<=;J=9K=KL@=9LL9;CJ9L=
9F<KH==<KMHL@=J=D=9K=J9L= E9CAF?ALD=KKH=9CK=FKALAN= 

Wideband AGC2 Menu


The Omnia.9’s Wideband AGC2 control allows you to insert one additional AGC processing stage into the
chain as outlined in detail below.

The Wideband AGC2 E=FM HJGNA<=K 9;;=KKLG L@= LJ9FKA=FL=F@9F;= E9PAEME ?9AF E9PAEME ?9AF
J=<M;LAGF J9LAG 9LL9;C J=D=9K= HJG?J=KKAN=J=D=9K= L9J?=L ?9L=L@J=K@GD< >J==R=L@J=K@GD< 9F<L@J==
:9F<KA<=;@9AFH9J9E=LJA;=IM9DAR=J;GFLJGDK

S The Bypass:MLLGF J=EGN=KL@=5A<=:9F<%! ;GEHJ=KKGJ >JGE L@=9M<AGH9L@ :MLALKH9L;@


point remains an available option for viewing on the oscilloscope or RTA via the Display Settings
menu.

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Chapter 9: FM Menu - Processing for FM

S The Transient Enhance  Maximum Gain  Ratio  Attack KH==<  Release KH==<  Target  Gate
Threshold, and Freeze Threshold controls work in the same manner as their counterparts in the
Wideband AGC1 section.

S The Wideband AGC2 dropdown control enables or disables the Wideband AGC2 section and
allows you to choose whether it is situated before or after the Multiband AGC section or used as a
dedicated Bass Compressor.

S If you use the AGC2 as a Bass Compressor ALOADD:=KALM9L=<9>L=JL@=+MDLA:9F<K=;LAGF :MLOADD


9>>=;LGFDQL@=DGO=J :9F<K  9F< 9DDGO QGM LG HMK@ L@=:9KK 9 :AL@9J<=J OAL@GML GN=J <JANAF?L@=
YF9D;DAHH=JGJMKAF?=P;=KKAN=DQ>9KL9LL9;C 9F<J=D=9K=KH==<KAF L@=DGO=J:9F<KG>L@=+MDLA:9F<
AGC.

S Bass OnlQ U -V  =EHDGQK 9 KA<=;@9AF YDL=J L@9L 9DDGOK GFDQ L@=9M<AG >JGE L@= DGO=J :9F<K LG
9>>=;L?9AF KGGFDQL@=DGO=J>J=IM=F;A=K9J=;GEHJ=KK=<9:GN=L@J=K@GD<

S Bass Wideband U 5V  9DKG =EHDGQK 9 KA<=;@9AF YDL=J  :ML GF= L@9L ;GFL9AFK L@= =FLAJ= 9M<AG
KH=;LJME  KGL@= :9KK :=;GE=K EGJ= ;GEHJ=KK=<O@=F L@==FLAJ=EAP AK 9:GN= L@J=K@GD<  2@AK
EG<= AK EGKL MK=>MD O@=F DGM<F=KK AK QGMJ HJAE9JQ HJG;=KKAF? ?G9D  9K AL ;GMD<9DDGO >MDD K;9D=
:9KK 9M<AGAF ;AJ;MEKL9F;=K O@=F L@=J=AKFGEA< J9F?=GJ LJ=:D=9M<AGHJ=K=FL &GO=N=J L@=J=
will be less bass present in situations when there are other frequencies present.

Wideband AGC3 Menu


The Wideband AGC3 E=FM GH=J9L=K AF L@= K9E= E9FF=J 9K 5A<=:9F< %!  OAL@ 9DD G> L@= K9E=
;GFLJGDK  :ML OAL@ GF= <A>>=J=F;= 'L ;9FFGL := MK=< 9K 9 OA<=:9F< ;GEHJ=KKGJ :=>GJ= L@= EMDLA:9F<
K=;LAGF GFDQ9>L=J 'L;9F @GO=N=J :=MK=<AFL@= 9KK-FDQGJ 9KK5A<=:9F<EG<=BMKLDAC=5A<=:9F<
AGC2.

Band Mix Menu


The Band Mix+=FM9DDGOKQGM LG9<BMKLL@=YF9DGMLHMLG>=9;@:9F<9>L=J9DD5A<=:9F<9F<+MDLA:9F<
processing has been applied. It can be used very effectively to tailor the overall spectral balance of your
KGMF<  :ML C==H AF EAF< L@9L L@AK AK L@= YF9D HGAFL G> 9<BMKLE=FL :=>GJ= L@= 9M<AG J=9;@=K L@= $AF9D
!DAHH=J$+;GJ= GJ$AF9D*AEAL=J&"9F<1LJ=9EAF?!GJ=K 'FGL@=JOGJ<K D=N=DKAF;J=9K=<AFL@= 9F<
+APK=;LAGF ;9F GFDQ :=;GFLJGDD=< :Q YF9D ;DAHHAF?GJ YF9D DAEALAF?  O@A;@ E9QJ=KMDL AF MF=PH=;L=< GJ
MFO9FL=<<=FKALQGFKGE=E9L=JA9D KG;9J=AKJ=IMAJ=<O@=FE9CAF?9<BMKLE=FLK@=J=

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Chapter 9: FM Menu - Processing for FM

S Each Band Level control has a range of -12 to +12dB in one-quarter dB increments.

S The Band Mix (coupled) ;GFLJGD 9DDGOK QGM LG 9<BMKL L@= GMLHML G> 9DD :9F<K AF L@= 9F< +AP
section simultaneously and by an equal amount.

Clipper Menu
The Clipper MenuHJGNA<=K;GFLJGD G>L@=YF9D ;DAH <JAN= :9KK;DAHH=J KDGH= :9KK;DAHH=JL@J=K@GD< DGO
>J=IM=F;QHJGL=;LAGF @A?@>J=IM=F;QHJGL=;LAGF 9F<HJGL=;LAGF 

S The Final Clip Drive;GFLJGD K=LK L@= <JAN=G> L@= YF9D ;DAHH=J  "=;J=9KAF? L@=<JAN=EGNAF? L@=
KDA<=JLGL@=D=>L J=<M;=KL@=9EGMFLG>;DAHHAF? !GFN=JK=DQ AF;J=9KAF?L@=<JAN=EGNAF?L@=KDA<=J
LGL@=JA?@L  OADD J=KMDL AF EGJ=;DAHHAF? *=KK;DAHHAF? OADD J=KMDL AF 9 EGJ= GH=F  D=KK HJG;=KK=< 
;D=9F=J KGMF< :ML 9L L@==PH=FK=G>GN=J9DD DGM<F=KK  +GJ=;DAHHAF?;9F J=KMDLAF 9 DGM<=J GF 9AJ
KGMF<T:ML GFDQ MH LG 9 HGAFL  Even if total dial domination and loudness are your processing
6>0;BC74A42><4B0?>8=CF74=C74P=0; F0E45>A< 8B 2><?;4C4;H5D;;0=38=2A40B8=6C740<>D=C
of clipping will no longer yield additional loudness – only more distortion. We strongly recommend
MKAF?-EFA9 XKGK;ADDGK;GH=9KO=DD9KQGMJ=9JKLGEGFALGJL@=+.6-MLHMLKA?F9DO@AD=9<BMKLAF?
L@=YF9D;DAH<JAN= 2@AK;GFLJGDJ9F?=K>JGE  LG
 AF GF= IM9JL=J< AF;J=E=FLK O@A;@K@GMD<
give you the (correct) impression that small changes make a big difference in the sound. Keep in

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Chapter 9: FM Menu - Processing for FM

EAF<L@9L9K=LLAF?G>
 E=9FKL@=;GFLJGDAK9LL@=EA<<D=G>ALKJ9F?= :ML<G=KFGLF=;=KK9JADQ
mean that no clipping is taking place.

S The Bass Clipper Slope control determines the slope characteristics of the bass clipper.

S Slope 1AKYDL=J=<9L9N=JQDGO>J=IM=F;QKGL@9LL@=DGO:9KKKL9QKU;D=9FV =N=FO@=F;DAHH=<


@9J< &GO=N=J KGE=G>L@=EA< :9KKOADDH9KKL@JGM?@L@=;DAHH=J O@A;@E9QJ=KMDLAF EGJ=G>
L@=YF9DO9N=>GJE:=AF?L9C=F MH:Q L@=:9KK $GJ DA?@L=JHJG;=KKAF?K=LLAF?K 1DGH= G>>=JK
the cleanest and punchiest bass sound.

S Slope 2 @9K9 @A?@=J ;MLG>>>J=IM=F;Q L@9F 1DGH= G>>=JAF?EGJ=;GFLJGD GN=J L@=EA< :9KK
O@AD=;J=9LAF?9U<AJLA=JV:9KKKGMF<OAL@EGJ=@9JEGFA;K -F;=JL9AF>GJE9LK GJO@=FDAKL=FAF?
GF9KE9DD=JJ9<AG L@AKE9Q:=9<=KAJ9:D==>>=;L

S Slope 1+2 is simply Slope 1 followed by Slope 2. Most of the low bass will be controlled by
1DGH= 9F<KL9QFA;= 9F< ;D=9F  O@AD=L@=J=E9AFAF? :9KK OADD :=L9C=F ;9J=G> :Q1DGH=
OAL@GML9>>=;LAF?L@=DGO :9KK '>QGM 9J=MKAF?@=9NA=J GN=J9DD HJG;=KKAF? L@AKGHLAGF OADD?AN=
you the cleanest sound.

S The Bass Clipper Threshold control sets the threshold of the Bass Clipper. Raising the threshold
EGNAF?L@=KDA<=J LGL@=D=>L  J=<M;=KL@=9EGMFL G> ;DAHHAF?H=J>GJE=<:Q L@= 9KK !DAHH=J  :ML
HD9;=9?J=9L=J:MJ<=FGFL@=$AF9D!DAHH=J !GFN=JK=DQ DGO=JAF?L@=L@J=K@GD<EGNAF?L@=KDA<=JLG
L@=JA?@L OADDQA=D<EGJ=:9KK;DAHHAF? O@A;@ L9C=KKGE=G>L@=DG9<G>>L@=$AF9D!DAHH=J :MLE9Q
result in low frequency distortion if set too low.

S The LF Protection Threshold  HF Protection Threshold  9F< A15 Protection Threshold


;GFLJGDK9<BMKLL@=J=KH=;LAN=;DAH D=N=DKG>L@=L@J==HJGL=;LAGF;DAHH=JKKALM9L=<9@=9<G>L@=YF9D
;DAHH=J  9F< @=DH HJGL=;L DGO >J=IM=F;A=K >JGE AFZM=F;AF? @A?@ >J=IM=F;A=K 9F< NA;= N=JK9 2@=
N9JAGMK >J=IM=F;A=K AF L@= YF9D O9N= >GJE OADD 9DO9QK := NQAF? >GJ KH9;= AF L@= YF9D ;DAHH=J 
Advancing these controls ensures their corresponding frequencies will always have at least some
JGGE J=K=JN=<AF L@= YF9D ;DAHH=J  &GO=N=J  K=LLAF? L@= L@J=K@GD<K LGG @A?@ :Q 9<N9F;AF? L@=K=
controls too much will cause the sound to become dull and dense. These are very critical controls
9F< 9DDGO QGM LG <=L=JEAF= =P9;LDQ O@9L ?G=K AFLG L@= YF9D ;DAHH=J  5= KLJGF?DQ J=;GEE=F<
listening very carefully to the sound with your ears and watching the waveform on the oscilloscope
very carefully when setting these controls.

S The LF Protection Threshold;GFLJGDK>J=IM=F;A=K:=LO==F9F< &R L@GM?@9M<AGAFKGE=


of these frequencies will already have been dealt with by the bass clippers. The range of this
control is -12.0dB to +12.0dB in one-tenth dB increments.

S The HF Protection Threshold ;GFLJGDK >J=IM=F;A=K :=LO==F   9F<  &R 2@= J9F?=G>
this control is -12.0dB to +12.0dB in one-tenth dB increments.

S The A15 Protection Threshold ;GFLJGDK >J=IM=F;A=K:=LO==F   9F<  &R  -EFA9  AK
IMAL= ;9H9:D= G> H9KKAF? 9M<AG AF =P;=KK G> L@= LJ9<ALAGF9D C&R ;MLG>> >GMF< AF GL@=J $+
HJG;=KKGJK :=;9MK= G> ALK KMH=JAGJ HADGL HJGL=;LAGF  DGO L@J=K@GD< K=LLAF? G>  K9Q  < 9DDGOK
these additional high frequencies to pass through while making sure the pilot is well protected. The
range of this control is between -24.0dB and 0.0dB in one-tenth dB increments.

Display Settings Menu


The Display Settings+=FM9DDGOK QGM LG;MKLGEAR=O@9LAK <AKHD9Q=<AF MH LG <A>>=J=FLOAF<GOKGF
screen at the same time.

57
Chapter 9: FM Menu - Processing for FM

#9;@ G>L@=KAP"AKHD9Q:MLLGFK9DDGOKQGM LG;@GGK=O@A;@ HJG;=KKAF?H9J9E=L=JKGJNAKM9DAR9LAGFK>JGE


one of Omnia.9’s valuable built-in diagnostic tools are viewable in each window. The ten main groups are
3F<G +=L=JK  .JG;=KKAF? +=L=JK  'FHML +=L=JK  *GM<F=KK +=L=JK  +G<MD9LAGF *=N=D 9K :9J ?J9H@
E=L=JK +G<MD9LAGF9K9FME=JA;J=9<GML -K;ADDGK;GH= 02 9F<$$21H=;LJMEF9DQR=J 

7GM ;9F9DKGLMJFG>>9FQGJ9DD G>-EFA9 XK<AKHD9QK@=J=T9@9F<Q>=9LMJ=>GJ C==HAF?QGMJHJG;=KKAF?


E=L=JK9F<K=LLAF?K>JGE;MJAGMK=Q=K

Since Omnia.9 can display such a wide variety of information about your station’s audio processing and
KA?F9D AL9DDGOKQGMLG;J=9L=9F<K9N=MH LGKAPDisplay Presets O@A;@9J=9DO9QKNAKA:D=AFL@=LGH JA?@L
portion of the display. Any changes you make to the display settings are saved as you make them for that
particular preset.

$GJ =P9EHD=  QGM E9Q OAK@ LG <=NGL= GF=HJ=K=L LG FGL@AF? :ML L@= 3F<G 9F<.JG;=KKAF?+=L=JK LG
<AKHD9QL@=K=H9J9E=L=JKAF?J=9L=J <=L9AD -J QGM ;GMD<<=NGL=9F=FLAJ=HJ=K=LLGL@=GK;ADDGK;GH=9F<
EGFALGJ L@= HJG?J9E AFHML L@= GMLHMLG>3F<G  L@=+.6 :=>GJ=L@=;DAHH=J 9F<L@=+.6 GMLHMLLGK==
what the various stages within Omnia.9 are doing to the audio signal. The combinations are endless and
QGMJKLG;MKLGEAR=LGKMALQGMJH9JLA;MD9JF==<K9F<HJ=>=J=F;=K 

Undo Meters Menu


The Undo Meters :MLLGF 9DDGOK QGM LG <AKHD9Q L@= 9;LANALQ G> L@= =FLAJ= 3F<GK=;LAGF  5@A;@ KH=;AY;
Undo meters are displayed within this window is determined by settings in the Undo Metering portion of
L@=E9AF3F<GE=FM O@A;@AKDG;9L=<AF-EFA9 XK'FHMLK=;LAGF >MDD=PHD9F9LAGFG>L@=3F<GE=L=JKAK
given in the section dedicated to using Undo.

S The Delay ;GFLJGD O@A;@ AK9DKGHJ=K=FLAF 9F<;GMHD=<LG  L@=.JG;=KKAF?+=L=JK -K;ADDGK;GH= 


02 9F<$$2 1H=;LJMEF9DQR=J E=FMK D=LKQGM KQF;@JGFAR=-EFA9 XKE=L=JKOAL@ L@=9M<AGLG
O@A;@ QGM 9J=DAKL=FAF?  $GJ =P9EHD=  A>QGM 9J=DAKL=FAF?LG 9 KLJ=9E OAL@ 9  K=;GF< <=D9Q  AL
OGMD<:=AEHGKKA:D=LGHJGH=JDQ9<BMKLL@=HJG;=KKAF?A>L@9LEM;@ LAE=H9KK=<:=>GJ=QGM 9;LM9DDQ
@=9J<O@9LQGMO=J=K==AF?GFL@=E=L=JK Q9<N9F;AF?L@="=D9Q;GFLJGDLG EK O@9LQGMJ

58
Chapter 9: FM Menu - Processing for FM

=Q=KK==GFL@=E=L=JKOADD ;GAF;A<=OAL@ O@9LQGMJ=9JK9J=@=9JAF? )==H AF EAF< @GO=N=J L@9L


any changes you make to the processing will still take 10 seconds to be audible.

Processing Meters Menu


The Processing Meters menu allows you to display the levels and activity of Omnia.9’s various gain
stages and processing sections.

Input Meters Menu


The Input Meters menu allows you to monitor the audio levels entering Omnia.9 with ITU BS.1770
bargraph meters.

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Chapter 9: FM Menu - Processing for FM

Loudness Meters Menu


The Loudness Meters E=FM HJGNA<=K K=H9J9L=DGM<F=KK E=L=JK >GJ .JG?J9E 'FHML +.6 -MLHML *0
-MLHML 9F<A>=F9:D=< L@=GMLHMLD=N=DKG>=PL=JF9D?=9J>==<AF?-EFA9 XK+.69F<+.6AFHMLK

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Chapter 9: FM Menu - Processing for FM

Modulation Meters Menu


The Modulation Meters menu displays the modulation levels of the MPX output of Omnia.9 as well as
any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a bar graph.

Modulation Numeric Menu


The Modulation Numeric menu indicates the modulation levels of the MPX output of Omnia.9 as well as
any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a numeric value relative to a
100% scale. The percentage of modulation occupied by the pilot and the L/R Demod level is also
displayed.

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Chapter 9: FM Menu - Processing for FM

Oscilloscope Menu
The Oscilloscope menu allows you to monitor a very wide variety of input and output points from various
stages of Omnia.9’s processing sections on the built-in oscilloscope.

S The Delay control works the same here as it does previous and subsequent display sections.

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Chapter 9: FM Menu - Processing for FM

S The Oversampling ;GFLJGD =F9:D=K GJ <AK9:D=K L@= GK;ADDGK;GH=XK P GN=JK9EHDAF? >MF;LAGF 
5AL@GMLGN=JK9EHDAF? KGE=H=9CKE9QH9KKL@JGM?@OAL@GML:=AF?<AKHD9Q=< ?ANAF?9F AF9;;MJ9L=
view of the signal. This is most critical when monitoring the MPX Output or the L/R Pre-emphasis
-MLHML &GO=N=J KAF;=GN=JK9EHDAF?;GFKME=KEGJ=!.3J=KGMJ;=K ALAKLMJF=<G>>:Q<=>9MDL

S The Phosphor Persistence;GFLJGD9<BMKLK@GODGF?D9L=FLAE9?=KJ=E9AFGFL@=K;J==F K=LLAF?


of 0 provides no image delay at all and offers the greatest amount of visual detail for the current
information on the scope. Higher settings allow images of signal that has already passed through
the scope to remain on the screen for progressively longer periods of time. Setting this control all
L@=O9QLGL@=JA?@LC==HKL@=AE9?=>JGE>9<AF?9L9DD MK=>MD>GJ;9L;@AF?H=9CK

S The Gain;GFLJGD9<BMKLKL@=7K;9D=G>L@=GK;ADDGK;GH=9F<EGN=KL@=?JA<J=D9LAN=LGL@=KA?F9D

S The Lines;GFLJGD9<BMKLKL@=G>>K=LG>L@=J=>=J=F;=DAF=K9KE=9KMJ=<AF<

S The Zoom ;GFLJGD 9DDGOKQGM LG;@GGK=:=LO==F 9 P  P  9F<P NA=OG> L@=6 K;9D=  KAEAD9JLG
setting the sweep time of a traditional oscilloscope.

S The I/O (Input/Output) Menu allows you to view the audio signal at various points of the Program
'FHML +.6-MLHML *0-MLHML +.6'FHML +.6'FHML 9F<.J= =EH@'FHMLH9L@K 

S From the Program InputH9L;@HGAFL QGM;9FNA=OL@=D=>LGJJA?@LAFHML9M<AGKA?F9D

S From the MPX Output  H9L;@ HGAFL  QGM ;9F NA=O L@= +MDLAHD=P  D=>L <= EG<MD9L=<  JA?@L <=
EG<MD9L=<  D=>L <= =EH@9KAR=<  GJ JA?@L <= =EH@9KAR=< 9M<AG KA?F9D 9K O=DD 9K L@= HADGL LGF=
G:L9AF=<L@JGM?@ 9 :JA;C O9DDH@9K= DAF=9J:9F<H9KKYDL=J>JGE   T &R  9F<L@=+.6
KA?F9DEAFMK1!;9JJA=JKG:L9AF=<L@JGM?@9:JA;CO9DDH@9K= DAF=9JDGOH9KKYDL=J9L &R 

S From the L/R OutputH9L;@HGAFLK QGM;9FNA=OL@=GJA?AF9DHJ= =EH@9KAR=<D=>LJA?@L9M<AGKA?F9D 


L@=<= =EH@9KAR=<D=>LJA?@L9M<AGKA?F9D 9KO=DD9KL@=+.6KA?F9D 9KL=J=G;G<=<N=JKAGFG>L@=
HJ= =EH@9KAR=<D=>LJA?@L9M<AGKA?F9DK

S From the MPX Input 1 and 2 H9L;@ HGAFLK QGM ;9F NA=OL@=+MDLAHD=P D=>L<= EG<MD9L=< JA?@L<=
EG<MD9L=< D=>L<= =EH@9KAR=< GJ JA?@L<= =EH@9KAR=<9M<AGKA?F9D9K O=DD 9K L@=HADGLLGF=9F<
MPX signal minus SCA carriers.

S The Pre-emph Input9DDGOKQGM LGNA=O L@=GJA?AF9DHJ= =EH@9KAR=<D=>LJA?@L9M<AGKA?F9D L@=<=


=EH@9KAR=< D=>LJA?@L9M<AGKA?F9D 9K O=DD 9KL@=+.6 KA?F9D 9 KL=J=G ;G<=<N=JKAGF G>L@=HJ=
=EH@9KAR=< D=>LJA?@L 9M<AG KA?F9DK  2@= HJ= =EH@ AFHML AK KAEAD9J LG L@= +.6 'FHMLK  :ML AK
KH=;AY;9DDQ>GJMK=OAL@ L@=*0 -MLHMLK>JGE9FGL@=J HJG;=KKGJ 2@AKAFHML;9FJ=;=AN=9M<AG>JGE
9FQG>L@=L@J==<A?AL9DAFHMLK :MLKAF;=ALAKFGL"! ;GMHD=< ALAKFGL<=KA?F=<LG:=MK=<OAL@ L@=
analog input.

S From the De-clipperH9L;@HGAFL QGM ;9FNA=OL@=9M<AGKA?F9D:=>GJ=GJ9>L=J<= ;DAHHAF?AF =AL@=J


the left or right channels.

S The Undo Pre patch points allow you to view the audio signal from each of the 5 individual bands
G>L@=3F<GK=;LAGF 9>L=J L@=<= ;DAHH=J:ML:=>GJ=3F<GXKEMDLA:9F<=PH9FKAGFAF=AL@=J L@=D=>LGJ
right channel.

S The Undo Post patch points allow you to view the audio signal from each individual band or the
combined output of all bands of the Undo section after the de-clipper AND after Undo’s multiband
=PH9FKAGFAF=AL@=JL@=D=>LGJJA?@L;@9FF=D

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Chapter 9: FM Menu - Processing for FM

S The Undo Control Signal patch points allows you to view the control signal from each of the
individual bands in either the left or right channel.

S The Miscellaneous patch points allows you to view the audio signal from various other points in
L@=KA?F9DH9L@ AF;DM<AF?9>L=JAFHMLYDL=JAF? 9>L=JL@=EMDLA:9F<K=;LAGF 9>L=JL@=:9KK;DAHH=J 9>L=J
AFHMLDGM<F=KKE9L;@AF? 9K 9F +.6 KA?F9DOAL@ FGAK=AFB=;LAGF 9F< 9L L@= HJG?J9E H9KKL@JGM?@
point.

S From the MPX DecodedE=FM QGM;9FNA=OL@=<=;G<=<D=>LGJJA?@L;@9FF=DG>L@=+.6GMLHMLG>


Omnia.9 as well as devices connected to the MPX1 and MPX2 inputs.

S The Physical Inputs E=FM <AKHD9QK L@= D=N=DK G> L@= 9;LM9D J=9J H9F=D AFHMLK  AF;DM<AF? +9AF
"A?AL9D #1 0=>=J=F;= MP "A?AL9D  9F<F9DG? 2@=K=H9L;@ HGAFLK9J= EGKLMK=>MD O@=F MKAF?
L@= ,>0=EGL= ;DA=FL GN=J L@= AFL=JF=L  9K L@=AJ GJA?AF9D MF <=;G<=< ;GMFL=JH9JLK E9Q := FGL :=
9N9AD9:D=AFL@=J=EGL=DQ<M=LGAFKM>Y;A=FLF=LOGJC:9F<OA<L@

S The Sidechain (SC) menu allows you to display left- and right-channel audio signals from both the
KA<=;@9AFK 9F< GMLHML K=;LAGFK G> L@= 'FHML %!  5A<=:9F< %!  5A<=:9F< %!  9F<
Wideband AGC3 compressors.

S From the Multiband SoloE=FM 9M<AG>JGE9FQGF=G>L@=:9F<KAFL@=EMDLA:9F<;GEHJ=KKGJ;9F


be displayed. The number of available bands is determined by the number of bands employed in
the current preset.

S The Monitor Out menu allows you to view the input (source) and output audio signals of the
1H=9C=J &=9<H@GF= 9F<MPEGFALGJHGAFLKAF=AL@=JL@=D=>LGJJA?@L;@9FF=D

Below are some examples of how to use the oscilloscope:

As a High Frequency Headroom Monitor:


S Display the Left or Right Demod signal from the MPX Output menu
S Set Oversampling to “On”
S Set Phosphor Persistence to 50
S Set Gain to -3
S Set Lines to -1
S 1=L8GGELGP

=DGO AK 9 ;GEH9JAKGF G> L@AK KA?F9D LG L@= HJ= =EH@9KAR=< GMLHML KG QGM ;9F K== BMKL @GO EM;@
9<<ALAGF9D&$@=9<JGGE-EFA9 XK;DAHH=JHJGNA<=K

As a Pilot Protection Monitor:


S Display the MPX Output
S Set Oversampling to “Off”
S Set Phosphor Persistence to 40

64
Chapter 9: FM Menu - Processing for FM

S Set Gain to 0
S Set Lines to 0
S 1=L8GGELGP

,GL=L@9LO@9LQGM9J=K==AF?@=J=AKL@=9;LM9DHADGL=PLJ9;L=<>JGEL@==FLAJ=+.6KA?F9D

RTA Menu
The RTA menu allows you to monitor many of the same sources as those mentioned in the Oscilloscope
E=FM K=;LAGF 2@= @GJARGFL9D K;9D=9DGF?L@=:GLLGE G> L@=02K;J==F K@GOK >J=IM=F;A=K >JGE  LG
 &R 2@=N=JLA;9DK;9D=9DGF?L@=D=>LKA<=K@GOKL@=9EHDALM<=G>L@=9M<AGAF<=;A:=DK

S The Delay control works the same here as it does previous and subsequent display sections.

S The RTA Resolution control lets you choose between a 1/3 and 1/6 octave display.

S The Averages control can be used to slow down or speed up the RTA’s display response. A lower
9N=J9?=K=LLAF?>9KL=J E=L=JJ=KHGFK=  EA?@L:=EGJ=MK=>MD >GJ H=9C EGFALGJAF?O@AD=9 @A?@=J
average setting (slower meter response) might be more useful for calibrating speakers. Higher

65
Chapter 9: FM Menu - Processing for FM

9N=J9?=K 9J= 9DKG MK=>MD >GJ 9<BMKLAF?DGO=J >J=IM=F;A=K 2@= J=;GEE=F<=<K=LLAF? >GJ KH=9C=J
;9DA:J9LAGF AK   0=?9J<D=KK G> @GO L@=N=J9?=K ;GFLJGD AK K=L  L@= 02E9AFL9AFK 9 @AKLGJQ
U:M>>=JVG>  >J9E=K <N9F;AF?L@=;GFLJGDLG  OADDAEE=<A9L=DQ<AKHD9QL@=9N=J9?=G>L@=
D9KL >J9E=K

S The Target control moves the dark red target window and/or the amplitude scale up and down
OAL@AFL@=<AKHD9Q 9MK=>MDLGGD>GJ=KL9:DAK@AF?9L9J?=LO@=FH=J>GJEAF?KH=9C=J;9DA:J9LAGF

S The Range;GFLJGD9DDGOKQGM LGNA=O9:JG9<=JGJF9JJGO=JJ9F?=G>9M<AG AF<A;9L=<:QL@=J9F?=


scale along the left side of the display.

S The Target Range 9<BMKLK L@= @=A?@L G> L@= L9J?=L OAF<GO OAL@AF 9 < J9F?= AF @9D> <=;A:=D
increments. Lower settings are better suited to more precise measurements. Moving the Target
Range slider all the way to the left hides the target window.

Below is an example of how to use the RTA menu:

To see a visual representation of a parametric EQ (PEQ) setting:


S Display the MB DRC Solo menu and select PEQ Preview
S Set Resolution to 1/6 octave
S 1=LN=J9?=KLGLGU>J==R=VL@=<AKHD9Q

You will now be able to see the curve of the PEQ in the RTA display window. You can also view the curves
of each band of the multiband compressor by selecting one of the Solo band buttons. Since the Solo
:9F<KJ=D9L=LG9 <QF9EA; K=;LAGFG>L@=HJG;=KKAF?;GJ= DGO=JAF?L@=N=J9?=KKDA<=JOADDQA=D<EGJ=G>9
“real time” view.

FFT Spectrum Analyzer Menu


The FFT menu allows you to monitor the same sources as those mentioned in the Oscilloscope menu
section.

66
Chapter 9: FM Menu - Processing for FM

S The Delay control works the same here as it does previous and subsequent display sections.

S The Resolution;GFLJGDK=D=;LKL@=FME:=JG>>J=IM=F;Q:9F<KAFLGO@A;@L@=9M<AGAK<ANA<=< P


J=KGDMLAGF ?AN=K QGM 9 J=>J=K@ J9L= G> 9HHJGPAE9L=DQ  >J9E=K H=J K=;GF< 9F< 9 >J=IM=F;Q
J=KGDMLAGFKM>Y;A=FL>GJNA=OAF?L@==FLAJ=9M<AGKH=;LJME PJ=KGDMLAGFK?AN=KQGM9J=>J=K@J9L=G>
9HHJGPAE9L=DQ>J9E=KH=JK=;GF< :ML9EM;@YF=J>J=IM=F;QJ=KGDMLAGF 

S The Decay Rate;GFLJGD 9<BMKLK @GO IMA;CDQ L@=<AKHD9QOADD >9DD 9>L=J 9 H=9C AK<AKHD9Q=< *GO=J
K=LLAF?K9J=L@=KDGO=KL O@AD=L@=@A?@=KLK=LLAF?AKAFKL9FL9F=GMK

S The Peak Hold control enables or disables the ability to indicate and hold the highest peak
achieved. Peak Hold is displayed in the dark green background layer.

S The X-Center control centers the display at the selected frequency.

S The X-Width;GFLJGDK=LKL@=<AKHD9Q=<>J=IM=F;QJ9F?=AFC&R

S The Y-Center control centers the display vertically around the selected level in dB.

S The Y-Range control sets the displayed level range in dB.

S The dB Scale Position;GFLJGD9DDGOKQGM LGEGN=L@=< K;9D=@GJARGFL9DDQLG9<A>>=J=FLHD9;=AF


the display. Advancing the control completely to the right places it in front of the graph at all times.

Below are some examples of how to use the FFT menu:

As a pilot protection monitor:


S Display the MPX Output
S 1=L0=KGDMLAGFLGP
S Set Decay Rate to 6

67
Chapter 9: FM Menu - Processing for FM

S Set Peak Hold to “On”


S 1=L6 !=FL=JLGC&R
S 1=L6 5A<L@LGC&R
S Set Y-Center to -90dB
S 1=L7 09F?=LG<
S Set dB Scale Position to 36

To display the RDS subcarrier:


S Display the MPX Output
S Set the Resolution and Decay rate to any setting
S Set Peak Hold to “Off”
S 1=L6 !=FL=JLGC&R
S 1=L6 5A<L@C&R
S Set Y-Center to -80dB
S Set Y-Range to 100dB
S Set dB Scale Position to 100

68
Chapter 10: FM Menu - Processing for ITU-R BS.412

Chapter 10
FM Menu
ITU-R BS.412 Processing /
MPX Power Limiting
M4E4;>?01D8;C8=*34C42C>A NA=4BC4<8=6F0H

69
Chapter 10: FM Menu - Processing for ITU-R BS.412

The FM Menu:
Processing for ITU-R BS.412 / MPX Power Limiting

ITU-R BS.412 requires that the average MPX power be limited to a particular standard and measured
OAL@9JGDDAF? K=;GF<AFL=?J9LAGFLAE= &GO=N=J KAF;=ALAKAEHGKKA:D=LGCFGOO@9LDA=K9@=9<AF L=JEK
G>;GFL=FL DGM<F=KKEMKL:=HJ9;LA;9DDQ:=;GFLJGDD=<OAL@AF9EM;@K@GJL=JH=JAG<G>LAE=UBMKLAF;9K= V

2@=>9;LGJQ UV HJ=K=LK AF;DM<=<OAL@ -EFA9  9J= LMF=< AF KM;@ 9 O9Q L@9L KA?FAY;9FLDQ D=KKHGO=J
DAEALAF?AK F==<=< LG <=DAN=J 9 ;GEHDA9FL GMLHML ;GEH9J=< LGGL@=J HJG;=KKGJK  'F >9;L  AL AK FGL 9L 9DD
unusual to see no gain reduction on the Power Limiter meter at all during normal programming and only
2dB - 3dB with very bass-heavy material.

1H=9CAF?G>:9KK E9F9?AF?:9KK @=9NQ;GFL=FLHJ=K=FLK9 KH=;A9D ;@9DD=F?=:=;9MK=G>L@=9EGMFLG>


energy typically present in the lower frequencies. Most of Omnia.9’s “412” presets make use of the WB
AGC2 or WB AGC3 compressors in “Bass Only” mode. This allows the initial portion of the bass
O9N=>GJELG:=E9F9?=<:QL@=;DAHH=JO@AD=L@=J=E9AF<=JAKHJG;=KK=<:QL@=;GEHJ=KKGJ J=KMDLAF?AF
much higher levels of bass than would otherwise be possible under the limitations imposed by the
regulations.

2G HJ=H9J= -EFA9  LG GH=J9L= AF ;GEHDA9F;= OAL@ '23 0 1   +.6 .GO=J !GFLJGD EMKL YJKL :=
enabled in the 'GAB3;  'GAB3; =<L5 $@=13AA7<5 =@3A E=FM  =KMJ=LGUHHDQ!GFY?V 9>L=J
enabling this mode and remember that doing so will take the unit off-air temporarily.

7GMOADDFGLA;=AFL@=$+.JG;=KKAF?*G9<.J=K=L+=FML@9LL@=HJ=K=LDAKL@9K:==FMH<9L=<LGAF;DM<=
GFDQL@GK=KH=;AY;9DDQ<=KA?F=<>GJ 1 MK= 2@=J=AK9DKG9F9<<ALAGF9D.GO=J*AEALE=FMGHLAGF

70
Chapter 10: FM Menu - Processing for ITU-R BS.412

'F9<<ALAGF L@=.JG;=KKAF?+=L=JK<AKHD9QOAF<GOFGO AF;DM<=K9 E=L=J>GJ L@=.GO=J*AEAL=J 9F<L@J==


E=L=JKK@GOAF?GMLHMLD=N=DKGN=JK=;GF< K=;GF< 9F<K=;GF<AFL=?J9LAGFLAE=K 

!GFLJGDK>GJ9<BMKLAF?L@=.GO=J*AEAL=J9J=>GMF<AFL@=$+.JG;=KKAF?.GO=J*AEALE=FM

S The Peak Limiter Drive;GFLJGDK=LKL@=9EGMFLG>DAEALAF?H=J>GJE=<:QL@=YF9DH=9CDAEAL=JK9F<


@9K9< J9F?=9F<AK9<BMKL9:D=AFGF= IM9JL=J< AF;J=E=FLK 2@=K=DAEAL=JK9J=L@=K9E=LQH=
used in the HD and Streaming cores and are situated before pre-emphasis.

71
Chapter 10: FM Menu - Processing for ITU-R BS.412

S The Power Limiter Drive control determines the amount of limiting performed by the MPX Power
*AEAL=JOAL@9J9F?=G>< 9<BMKL9:D=AFGF= IM9JL=J< AF;J=E=FLK 

S Advancing the Punch (coupled) slider (moving it to the right) increases the Power Limiter Drive
while simultaneously reducing the Peak Limiter Drive by a corresponding amount which results in a
more open sound. Sliding the control to the left decreases the Power Limiter Drive and increases
the Peak Limiter Drive by a corresponding amount which results in a more dense sound.

S The Limiter Style drop-down menu provides a choice between Standard and Aggressive settings.
“Standard” is more gentle and less audible. “Aggressive” is more audible but allows you maintain
levels that are closer to the designated power limit.

72
Chapter 11: FM Menu - RDS

Chapter 11
FM Menu
RDS
“Keep your eyes on the road, your hands
upon the wheel.” - Jim Morrison

73
Chapter 11: FM Menu - RDS

The FM Menu: RDS

2@=0"1;GFLJGD K=;LAGF G>-EFA9  ;GFL9AFKL@=+9AF 0"1E=FM Y=D<K>GJ .JG?J9E 1=JNA;=.1  9F<


09<AG 2=PL 02  AF>GJE9LAGF  HJG?J9E A<=FLAY;9LAGF Y=D<K  K=D=;L9:D= <QF9EA; .JG?J9E 2QH= .27 
K=D=;L9:D=Z9?K 9F<9K=;LAGF>GJK=D=;LAF?9DL=JF9LAN=>J=IM=F;A=K

RDS Main Menu


The Main E=FM ;GFLJGDK 9DDGOQGM LG=F9:D=0"1  ;@GGK=L@=EG<=AF O@A;@ ALGH=J9L=K  9F<K=L L@=
AFB=;LAGFD=N=D

S The Injection Level KDA<=J K=LK L@=9EGMFLG>0"1AFB=;LAGF >JGE  T  2@= <=>9MDLK=LLAF?AK
4%.

S The RDS Mode drop-down menu allows you to choose from several different RDS options.

74
Chapter 11: FM Menu - RDS

S 5@=FK=LLG->> C&R 0"1AKLMJF=<;GEHD=L=DQG>>:MLL@=9M<AG=PL=F<K9DDL@=O9QGMLLG


 C&R  'L AK FGL J=;GEE=F<=< LG MK= 9F =PL=JF9D 0"1 =F;G<=J AF L@AK EG<=  =N=F GF=
AFKL9DD=<9>L=J-EFA9  9KL@=9M<AG=PL=F<KH9JLA9DDQAFLGL@=HGJLAGF G>L@=KH=;LJMEFGJE9DDQ
reserved for RDS.

S 5@=FK=LLG->>C&R L@=9M<AG=PL=F<KGFDQLGC&RLG9DDGO JGGE >GJ0"1<9L9HJGNA<=<


:Q 9F =PL=JF9D 0"1 =F;G<=J DG;9L=< 9>L=J -EFA9   ,GL= L@9L MKAF? L@AK EG<= <G=K E=9F
DGKAF?< G>KL=J=GK=H9J9LAGF:=LO==F 9F< &R

S 'F L@= 'FL=JF9D EG<=  -EFA9 XK :MADL AF 0"1 =F;G<=J AK 9;LAN=  =;9MK= 0"1 AK L9C=F AFLG
;GFKA<=J9LAGF :Q L@=;GEHGKAL=;DAHH=J L@=J=AKFGDGKKG>DGM<F=KKOAL@ L@AK EG<= 2@=J=>GJ= 
we highly recommend using the Internal mode whenever possible.

S 2@= #PL=JF9D 'FHML   #PL=JF9D 'FHML   9F< #PL=JF9D 'FHML 


 EG<=K <=L=JEAF= O@A;@ G>
-EFA9 XK+.6AFHMLK9J=9;LAN=>GJ0"1AFHMLO@=FMKAF?9F=PL=JF9D=F;G<=J

S The MPX 2 Output Mode drop-down menu allows you to determine whether Omnia.9’s MPX 2
-MLHMLOADD>==<L@=>MDD+.6KA?F9D L@=C&RHADGL=PLJ9;L=<>JGEL@=+.6KA?F9D GJ9MFAIM=9F<
K=H9J9L=DQ?=F=J9L=<C&RHADGLKA?F9D

Using Omnia.9’s Built-In RDS Encoder


Using the built-in RDS encoder is the simplest and most straight-forward means of getting RDS data on
the air since everything is handled within Omnia.9 itself:

Using External RDS Encoders


'> QGM HJ=>=J LG ?=F=J9L= 0"1 <9L9 =PL=JF9DDQ AFKL=9< G> MLADARAF? -EFA9 XK :MADL AF =F;G<=J GJ QGMJ
situation dictates that you do) there are various options available for nearly every hardware and software
=F;G<=J9N9AD9:D= 1GE=;GEEGFK;=F9JAGK9J=GMLDAF=<:=DGO OAL@ <=L9ADK9:GML@GOLGK=L-EFA9 XK
various RDS controls for each situation.

Using an RDS Encoder with Omnia.9’s Psychoacoustic Composite Clipper


'LAKHGKKA:D=LGMLADAR=9F=PL=JF9D0"1=F;G<=JOAL@GMLDGKAF?9FQDGM<F=KK:QAFL=?J9LAF?ALOAL@-EFA9
XK ;GEHGKAL= ;DAHH=J  2G <G KG  QGM EMKL >==< :GL@ L@= =F;G<=JXK +.6 9F< .ADGL AFHMLK OAL@ 9F
AF<=H=F<=FLDQ ?=F=J9L=<C&RKA?F9D 9F<AFLMJF >==<L@=GMLHMLG>L@==F;G<=JOAL@0"19F<.ADGL LG
GF=G>-EFA9 XK+.6AFHMLK -EFA9 XK+.6-MLHMLOADD>==<L@==P;AL=J<AJ=;LDQ 

75
Chapter 11: FM Menu - RDS

=KMJ=LG=F9:D=L@=HJGH=J+.6AFHML>GJ0"1MK='FHMLGJ'FHML AFL@=0"1+G<=E=FM 9F<K=L


L@=+.6  -MLHML;GFLJGDLGL@=C&R%=F=J9LGJEG<= 2@=+.6  -MLHML;GFLJGD;9F :=>GMF<AF L@=
0"1+=FM L@=$+.JG;=KKAF?-MLHMLE=FM 9F<AFL@=E9AF'-E=FM

K9F 9KA<= ALXKAFL=J=KLAF?LGFGL=L@9L-EFA9  YDL=JK L@==PL=JF9D0"1KGLA?@LDQL@9LA>QGM ;GFF=;L=<


L@=+.6GMLHMLG>9LMF=JEGFALGJAF?9;GEHD=L=DQ<A>>=J=FLKL9LAGF ALOADD:JG9<;9KLL@9LKL9LAGFXKHADGL9F<
0"1<9L9

Using an RDS Encoder After Omnia.9


7GM ;9F 9DKGMK=9F 0"1=F;G<=J 9>L=J -EFA9  :ML<GAF?KGE=9FKDGKAF?DGM<F=KKKAF;=-EFA9 XK
;GEHGKAL=;DAHH=J;9FFGLHJG;=KKL@=>MDDQ=F;G<=<KA?F9D 'F L@AK;9K= -EFA9 XK+.6-MLHMLOADD>==<
L@==F;G<=JXK+.6 'FHMLO@AD=L@=+.6-MLHMLOADD >==<L@=.ADGL'FHML1QF;  G>L@==PL=JF9D=F;G<=J 
2@=GMLHMLG>L@==F;G<=JOADDL@=F>==<L@=;GEHGKAL=12*GJ=P;AL=J 'FL@AKK;=F9JAG L@=+.6 -MLHML
control should be set to the MPX Pilot mode.

76
Chapter 11: FM Menu - RDS

Using an RDS Encoder That Does Not Provide a Pilot Signal


1GE=0"1=F;G<=JKL9C=L@=HADGLKA?F9DG>L@=HJG;=KKGJ MK=AL9K9 KQF; J=>=J=F;=>GJ0"1 9F<L@=F
output only the RDS data without passing the pilot.

2G<GKG QGM ;9FMK=92 ;GFF=;LGJGF-EFA9 XK+.6-MLHML ;GFF=;LGF=D=?G>L@=L==LGL@=.ADGL


'FHML1QF; GF L@=0"1=F;G<=J 9F<;GFF=;LL@=GL@=JLGGF=-EFA9 XK+.6 'FHML 2@=GMLHMLG>L@=
RDS encoder should be connected to Omnia.9’s MPX 2 Input.

'FL@AKK;=F9JAG K=LL@=+.6 -MLHML;GFLJGDLGL@=C&R%=F=J9LGJEG<=9F<L@=#PL=JF9D'FHMLLGL@=


1+2 mode in so that both MPX inputs are enabled for RDS.

Flags Menu
The Flags +=FM G>>=JK =F9:D=<AK9:D= ;GFLJGDK >GJ L@= 09<AG 2=PL  2J9>Y; .JG?J9E  2AE= !G<= 
!GEHJ=KK=< 1L=J=G JLAY;A9D&=9< 2J9>Y;FFGMF;=E=FL 9F<+MKA;Z9?K
5@=F =F9:D=<  L@= 09<AG 2=PL 02  Z9? 9DDGOK O@9L=N=J AK HJG?J9EE=< AFLG L@= 02 Y=D< LG :=
transmitted.

77
Chapter 11: FM Menu - RDS

S The (@/4L1$@=5@/; ($ Z9? O@=F =F9:D=< 9DDGOK DAKL=F=JK LGYF<GFDQKL9LAGFK L@9LJ=?MD9JDQ
:JG9<;9KLLJ9>Y;:MDD=LAFK

S 5@=F=F9:D=< L@=2ime Code (CT) Z9?9DDGOKLAE=9F<<9L=AF>GJE9LAGF OAL@AF L@=0"1<9L9 LG


appear on the listener’s receiver.

S The Compressed <=;G<=J AF>GJE9LAGF ;GFLJGD  O@=F =F9:D=< AF<A;9L=K L@9L L@= 9M<AG@9K:==F
processed.

S The Stereo <=;G<=J AF>GJE9LAGF ;GFLJGD  O@=F =F9:D=<  A<=FLAY=K L@=KL9LAGF 9K :JG9<;9KLAF? AF
stereo (as opposed to mono).

S 5@=F =F9:D=<  L@= @B7L17/: 3/2 decoder information control indicates the use of a binaural
microphone.

S The (@/4L1<<=C<13;3<B(Z9? O@=F =F9:D=< ;9F KLGH L@=HD9Q:9;CG>GL@=JE=<A99!" 


>GJ =P9EHD= 9F<LMF=AF 9 :JG9<;9KLKL9LAGF AFKL=9<O@=F9LJ9>Y; :MDD=LAF AKJ=;=AN=< 2MJFAF?L@=
2J9>Y;Z9?GF9F<G>>;GMD<:=9MLGE9L=<L@JGM?@9J=IM=KLLG-EFA9 XK:MADL AF@LLHK=JN=J 

S 5@=F =F9:D=<  L@= Music <=;G<=J AF>GJE9LAGF ;GFLJGD A<=FLAY=K L@= KL9LAGF 9K GF= O@A;@
broadcasts primarily music content (as opposed to speech) which in turns allows the receiver to
;@GGK=:=LO==FL@=NGDME=D=N=DK>GJ=9;@LQH=G>;GFL=FL 2MJFAF?L@AKZ9?GF 9F<G>>;GMD<9DKG
be automated through a request to the http server.

Station ID Menu
The Station ID +=FMHJGNA<=KY=D<K>GJ=FL=JAF?.JG?J9E 1=JNA;=.1  9F<09<AG2=PL02 AF>GJE9LAGF
as well as the Program Information (PI) Code.

78
Chapter 11: FM Menu - RDS

2QHA;9DDQ  L@= $' L3:2 T 9F  ;@9J9;L=J KL9LA; <AKHD9Q T ;GFL9AFK L@= ;9DD D=LL=JK G> L@= KL9LAGF T >GJ
=P9EHD= 5-+, $+ &GO=N=J ALAKHGKKA:D=LGHJG?J9E L@=.1Y=D<AF KM;@ 9 O9QL@9LAL;9F HJGNA<=9
:ALEGJ=AF>GJE9LAGF &=J=9J=KGE=O9QKLG;J=9LAN=DQMK=L@=.1Y=D<

Q KHDALLAF? L=PLOAL@ L@= UV KQE:GD =9;@ L=PL OADD 9DL=JF9L=>GJ  K=;GF<K  5-+, $+  $+,-5
WITH/OMNIA.9) or (WOMN-FM/TODAYS/HOTTEST/HITS)

2G;@9F?=L@= 9EGMFL G>LAE=L@=L=PLAK <AKHD9Q=< HMLL@=<=KAJ=< LAE=AF >JGFLG>L@=L=PL AF K=;GF<K


 K5-+, $+ K  $+ K-+,'   'F L@AK =P9EHD=  U5-+, $+V OADD := <AKHD9Q=< >GJ  
K=;GF<K U $+VOADD:=<AKHD9Q=<>GJK=;GF<K 9F<U-+,' VOADD9HH=9J>GJ K=;GF<K

The&( L3:2HJGNA<=K9  ;@9J9;L=J >J== >GJE E=KK9?= 'L;9F :=KL9LA; LGHJGNA<=9 KL9LAGF KDG?9F GJ
dynamic and in sync with station programming to provide song titles and artist information. Dynamic
updating is accomplished via the HTTP automation interface.

The $@=5@/;23<B7L1/B7=<Y=D<K@GMD<;GFL9AFL@=.';G<=MFAIM=LGQGMJKL9LAGF

Program Type Menu


The Program Type +=FM 9DDGOK QGM LG ;@GGK= L@= 0"1 EG<= 31 GJ #MJGH=  =F9:D= "QF9EA;
.JG?J9E2QH= .27 9F<;@GGK=9.27;G<= 

79
Chapter 11: FM Menu - RDS

5@=F =F9:D=< Dynamic PTY indicates to listeners that the type of programming on your station may
;@9F?=H=JAG<A;9DDQ 2@AKOGMD<:=MK=>MD>GJ9KL9LAGFL@9L>GJ=P9EHD=:JG9<;9KLKEMKA;<MJAF?L@=O==C 
but airs sports programming on the weekends.

The PTY Code drop-down menu provides you with a choice of 31 Program Type categories when using a
Static Program Type.

Alternative Frequencies Menus


'>QGM:JG9<;9KLL@=K9E=HJG?J9EEAF?GF EGJ=L@9FGF=>J=IM=F;Q QGM;9F L9C=9<N9FL9?=G>9F 0"1
receiver’s ability to search for and tune into up to 16 alternative frequencies when the signal of the current
frequency weakens. The Alternative Frequencies 1 & 2 menus allow you to specify those frequencies.

80
Chapter 12: FM Menu - MPX Inputs

Chapter 12
FM Menu
MPX Inputs
*><0=H?>BB818;8C84B5A><CF><>34BC%902:B

81
Chapter 12: FM Menu - MPX Inputs

The FM Menu: MPX Input

-EFA9  HJGNA<=K LOGJ=9J H9F=D +.6 ;GEHGKAL=  AFHMLK O@A;@ ;9F :=MK=< >GJ 9 N9JA=LQ G> HMJHGK=K 
AF;DM<AF?MKAF? 9F =PL=JF9D 0"1=F;G<=J 9K <=K;JA:=<AF L@= HJ=NAGMK K=;LAGF GF 0"1 '> L@=K= +.6
AFHMLK9J==F9:D=<9K<=K;JA:=<AF L@=1QKL=E!GFY?+=FMK=;LAGF G>L@=;@9HL=JGFL@=1QKL=E+=FM 
they can also be used to put some of Omnia.9’s built-in tools to good use.

$GJ=P9EHD= QGM E9QOAK@LG;GFF=;L9 EG<MD9LAGF EGFALGJGJ9LMF=JOAL@ 9F+.6 GMLHMLLGGF=G>L@=


AFHMLK9F<L9C= 9 ;DGK=J DGGC 9LGL@=J KA?F9DK AF QGMJE9JC=LGF L@= GK;ADDGK;GH=GJ KH=;LJME 9F9DQR=J 
7GM ;GMD< >==< L@= ;GEHGKAL= GMLHML G> QGMJ =PAKLAF? HJG;=KKGJ AFLG L@= -EFA9  LG ;@=;C ALK
H=J>GJE9F;= -J QGM;GMD<N=JA>QL@=H=J>GJE9F;=G>9F=PL=JF9DKL=J=G;G<=JL@9LQGMXJ=HD9FFAF?LGMK=
with the Omnia.9‘s L/R Output path and compare it to the performance of Omnia.9‘s built-in stereo coder.

MPX Inputs 1 and 2 are available as patch points which can be viewed on any of Omnia.9’s
instrumentations as well as auditioned through the monitor outputs using the built-in phase linear
reference quality stereo decoder.

2@=+.6 'FHML +=FM ;GFL9AFK 9<<ALAGF9D E=FMK >GJ +.6 'FHML   +.6 'FHML   .J= =EH@ 'FHML  9F<
Display Settings.

MPX Input 1 and MPX Input 2 Menus


The MPX Input 1 and MPX Input 2 E=FMK;GFL9AFL@=;GFLJGDKLGK=LL@=AFHML?9AF ;@GGK=9HJ=
=EH@9KAKD=N=D 9<<<=D9Q ;GEH=FK9L=>GJLADL 9F<9<<=IM9DAR9LAGF

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Chapter 12: FM Menu - MPX Inputs

S The Input Gain slider sets the input level of each of the two MPX Inputs in a range from -12dB to
+18dB in one-tenth dB increments.

S The Pre-emphasis setting controls the de-emphasis circuit used when the MPX Input patch point
F==<K LG :=<= =EH@9KAR=<  KM;@ 9K OGMD< :=L@=;9K= O@=F ALAK K=D=;L=< 9K L@= KGMJ;= AF 9
monitor input or if Left De-mod is selected when viewing the patch point in an oscilloscope display
OAF<GO 2QHA;9DDQ  L@AK K@GMD<:= K=LLG E9L;@ L@= HJ= =EH@9KAK G> L@=AFHML KA?F9D  =AL@=J  GJ
75us.

S The Add Delay ;GFLJGD 9DDGOK QGM LG <=D9Q L@= 9M<AG ;GEAF?AF >JGE L@==PL=JF9D +.6 'FHMLLG
match that of the Omnia.9.

S 1AF;=L@=GMLHMLKG>EGKLEG<MD9LAGFEGFALGJK9F<LMF=JK@9N=KGE=LADLHJ=K=FL ;GFLJGDKLG9<BMKL
compensate for Tilt Amount and (7:B =34L173<B are provided. To get a good square wave
J=>=J=F;= LMF=AF 9 KL9LAGFOAL@:9KK @=9NQHJG?J9EEAF?9F<@=9NQHJG;=KKAF?>GJNAKM9DZ9LF=KK
GFL@=GK;ADDGK;GH= 7GM;9F9DKGLMF=AFQGMJGOFKL9LAGFLGN=JA>Q12*9F<=P;AL=JH=J>GJE9F;=

S The PEQ :MLLGF=F9:D=KL@= :9F<H9J9E=LJA; =IM9DAR=J 5@=FL@=.#/ AK=F9:D=< L@=KDA<=JKLG


9<BMKLcenter frequency width 9F<gain9J=9N9AD9:D=LGE9C=9FQF=;=KK9JQ9<BMKLE=FLK 

S 2@=.#/ ;9F:=K=LLG:=H@9K=DAF=9J H@9K=>GJO9J< GJH@9K=J=N=JK=NA9L@=Phase drop-down


E=FM :=DGOL@=?9AF KDA<=J 2@=EGKLDAC=DQ EG<= OADD :=H@9K=>GJO9J<LGE9L;@ 9F 9F9DG?YDL=J
AF9;;MJ9;Q :MLH@9K=DAF=9J E9Q :=L@=HJ=>=JJ=<;@GA;=LG;GMFL=J 9 <A?AL9DYDL=J '>QGM @9N=9F
=P;AL=J L@9L QGM CFGO LG := H=J>=;LDQ 9;;MJ9L= KM;@ 9K 9 <AJ=;L <A?AL9D KQFL@=KAK =P;AL=J  :ML 9
J=;=AN=J L@9LAKFGL QGM ;9F MK=-EFA9 XK+.6 L=KLLGF=?=F=J9LGJ AF ;GFBMF;LAGF OAL@ L@=+.6
'FHML .#/ LG =IM9DAR=L@=@A?@ >J=IM=F;Q J=KHGFK=G> QGMJ J=;=AN=J LG9;@A=N= 9 EGJ=9;;MJ9L=
result.

Pre-emph Input Menu


2@=.J= =EH@ 'FHMLE=FM ;GFL9AFK L@=;GFLJGDKLG;@GGK=9F<9<BMKLL@=H@QKA;9DAFHML HJ= =EH@9KAK 
<=D9Q 9F<=IM9DAR9LAGF K=LLAF?K 2@=.J= =EH@ 'FHML AK KAEAD9J LGL@=+.6 'FHMLK :MLAK KH=;AY;9DDQ>GJ
use with the L/R Outputs from another processor. This input can receive audio from any of the three
digital inputs. The analog input is not suitable as it is not DC coupled.

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Chapter 12: FM Menu - MPX Inputs

S The Physical Input control determines which rear-panel input is routed to the pre-emph input patch
point.

S The Source ;GFLJGDK=D=;LKO@=L@=JL@=AFHMLKGMJ;=AKZ9LGJHJ= =EH@9KAR=<

S The Pre-emphasis control should be set to match the amount of pre-emphasis the incoming signal
@9KGJMK=<LG@9N=A>ALO9K<= =EH@9KAR=<HJAGJLG:=AF?>=<AFLG-EFA9 

S The Add Delay control allows you to delay the audio coming in from the pre-emphasis input to
match that of the Omnia.9.

S The PEQ :MLLGF=F9:D=KL@= :9F<H9J9E=LJA; =IM9DAR=J 5@=FL@=.#/ AK=F9:D=< L@=KDA<=JKLG


9<BMKL ;=FL=J >J=IM=F;Q  OA<L@  9F< ?9AF 9J= 9N9AD9:D= LGE9C=9FQ F=;=KK9JQ 9<BMKLE=FLK 2@=
.#/;9F:=K=LLG:=H@9K=DAF=9J H@9K=>GJO9J< GJH@9K=J=N=JK=NA9L@=<JGH <GOFE=FM :=DGO
the gain slider.

Display Settings Menu


2@="AKHD9Q1=LLAF?KE=FM AK L@=K9E=E=FM >GMF<AF L@=.JG;=KKAF?+=FM G> L@=.JG;=KKAF?K=;LAGF 
and is duplicated here for convenience.

84
Chapter 13 FM Menu - Meter Options

Chapter 13
FM Menu
Meter Options
Seeing what you hear.

85
Chapter 13 FM Menu - Meter Options

The FM Menu: Meter Options

2@=+=L=J -HLAGFK+=FM ;GFL9AFKKM: E=FMK>GJ +=L=J -HLAGFK 2=KL-HLAGFK *GM<F=KK+9L;@=< 


and Display Settings.

Meter Options Menu


5@A;@ E=L=JK 9J=<AKHD9Q=<AF L@=*GM<F=KK+=L=J +G<MD9LAGF +=L=J 9F<+G<MD9LAGF ,ME=JA; <AKHD9Q
windows are determined by enabling or disabling available options in this menu.

1H=;AY;9DDQ

86
Chapter 13 FM Menu - Meter Options

S Program Input is available only in the in the Loudness Meter display.

S MPX Output MPX Input 1  MPX Input 2  9F< Pre-emph Input are available in the Loudness
+=L=J +G<MD9LAGF+=L=J 9F<+G<MD9LAGF,ME=JA;<AKHD9QK

S The MPX Power Meter Peak Modulation Meter Pilot Level Meter 9F<L/R Level Meter can be
9<<=<LG L@=+G<MD9LAGF +=L=J <AKHD9QG>9FQ=F9:D=<+.6 K=;LAGF  AF;DM<AF?+.6 -MLHML +.6
'FHML 9F<+.6'FHML

S The MPX Power Numeric  Peak Modulation Numeric  Pilot Level Numeric  9F< L/R Level
Numeric can be added to the Modulation Numeric display of any enabled MPX section.

S The MPX Power Limit control sets the center of the MPX Power meter as well as whether the
numeric readout is green or red. This can be set differently from the MPX Power Limit control in the
$+.JG;=KKAF?K=;LAGF 9F<AK9N9AD9:D==N=FO@=F-EFA9 AKFGLGH=J9LAF?AF +.6.GO=J+G<= 
to provide a power measurement reference.

Loudness Matched A/B Menu


The ability to compare the sound of the input audio to the processed output audio is valuable when
9<BMKLAF?QGMJHJG;=KKAF?  =;9MK=L@=@ME9F=9JG>L=FEAKAFL=JHJ=LKUDGM<=JV 9KU:=LL=JV>GJL@=YJKL>=O
K=;GF<K9>L=JAL@=9JK9F=OKGMF< E9CAF?KMJ=L@=9N=J9?=D=N=DKG>L@=AFHML9F<GMLHML9M<AG;DGK=DQ
match eliminates that distraction so that your ear can concentrate on the other changes the processor is
E9CAF?LGL@=L=PLMJ= <QF9EA;K 9F<KH=;LJ9D:9D9F;=G>L@=9M<AG 

'LAKHGKKA:D=LGE9FM9DDQ9<BMKL L@=K=D=N=DK AF L@=+GFALGJ -MLHML +=FM 9KQGM KOAL;@ :9;C 9F< >GJL@
:=LO==F H9L;@ HGAFLK  :ML:=;9MK=AFHMLD=N=DK N9JQ KGEM;@ OAL@AF 9F< :=LO==F KGF?K  L@AK ;9F ?=L
LJA;CQGJBMKLHD9AF9FFGQAF? L@JGOKQGMJ=9J >GJ 9 EGE=FL9JQDGGH 9F<L9C=KQGMJEAF<G>>L@=;9J=>MD
study of the changes you’re making to your processing.

2GE9C= ;GEH9JAKGFK=9KA=J -EFA9 ;9F9HHDQ9MLGE9LA; D=N=DAF?LGK=N=J9DC=QAFHMLH9L;@HGAFLK


and makes those available here in the Meter Options Menu (for display purposes) as well as in each of
the Monitor Outputs menus.

J Note: +78B;4E4;8=65D=2C8>=05542CB&%#/C740D38>0E08;01;40CC74?0C27?>8=C  C70B%&45542C>=


the on-air processing.

87
Chapter 13 FM Menu - Meter Options

S The Integration Time setting controls the integration time of the two ITU BS.1770 loudness meters
L@9L>GJE L@=:9KAK >GJ L@=DGM<F=KK ;GEH9JAKGF 2@=DGM<F=KK AK =IM9DAR=<:Q9 J9EHAF??9AF LG
9;;GMFL >GJ L@= <A>>=J=F;= :=LO==F L@= LOG DGM<F=KK E=L=JK   2@= <=>9MDL LAE= AK  K=;GF< 
seconds is optional. The 1 second integration time will cause the leveler to respond to differences
AF D=N=D EGJ=IMA;CDQ  HJGNA<AF?EGJ=;GFKAKL=FLD=N=DK :=LO==F 9F< O@AD=L@= K=;GF<LAE=
will allow more level variation and reduces the likelihood of audible pumping.

S The Source control allows you to choose the audio source for the Loudness Matching patch point.
N9AD9:D= GHLAGFK 9J= .JG?J9E 'FHML  +.6 'FHML   +.6 'FHML   .J= =EH@ 'FHML 9F< .GKL
Multiband.

S The Match control allows you to choose which audio source to match the loudness of. Available
GHLAGFK9J=+.6-MLHML *0-MLHML +.6'FHML +.6'FHML9F<.J= =EH@'FHML

Test Options Menu


2@=2=KL-HLAGFKE=FM ;GFL9AFKLOG;GFLJGDKL@9L9J=MK=>MDGFDQAF 9L=KLKALM9LAGF 9F<@9N=FG=>>=;L9L
all on the on-air output. The Test Input patch point activates automatically and does not use processing
power when inactive. Enabling the Always Active control in the Test Input menu forces this patch point to
remain active at all times and allows for cleaner A/B switching.

S MPX Noise Injection is useful when “racing” against your competition as received through a tuner
with a composite output connected to one of Omnia.9’s MPX Inputs. There is no such thing as
H=J>=;L J9<AG J=;=HLAGF  9F< KGE= FGAK= OADD 9DO9QK := HJ=K=FL  KG L@AK ;GFLJGD @=DHK UD=N=D L@=
HD9QAF?Y=D<V9 :AL  2GMK=L@AK>=9LMJ= K=LMH LOG$$2 KH=;LJME9F9DQR=J<AKHD9QK GF=DGGCAF?9L
+.6 -MLHML OAL@ ,GAK=  9F< L@= GL@=J DGGCAF? 9L L@= +.6 'FHML  2@=F  MKAF? L@= +.6 ,GAK=
'FB=;LAGF ;GFLJGD QGM ;9FNAKA:DQE9L;@ L@=FGAK=D=N=DG>L@=J=;=AN=<KL9LAGF KGL@9LQGM;9F  
"MPX Input" with "MPX Output with Noise" using either a monitor output or the client audio output.
This allows a much more carefully controlled and accurate comparison than simply changing
HJ=K=LKGF 9 LMF=J =KH=;A9DDQ KAF;=QGM ;9F @9N=LOGGK;ADDGK;GH=K KA<=:Q KA<=<AKHD9QAF?:GL@
KA?F9DKLGE9C=KMJ=L@9L:GL@9J=EG<MD9LAF?9LL@==P9;LK9E=H=9CD=N=D

S The Pass-Through Delay Time;GFLJGD 9<BMKLK L@=<=D9Q LAE= >GJ L@= H9KK L@JGM?@ H9L;@ HGAFL 
O@A;@ ;GFL9AFKL@=GJA?AF9D MFHJG;=KK=<9M<AG:MLOAL@GML ;GEH=FK9LAGF <=D9Q   'LAKFGJE9DDQ AF
KQF;OAL@L@='FHML FGLL@=-MLHML 

88
Chapter 13 FM Menu - Meter Options

J Note: 5H>D5443C74$'.B86=0;5A><0=>C74A?A>24BB>A8=C>>=4>5&<=80 OB$'.8=?DCBC74


pass-through patch point can be used to feed the unprocessed program audio from Omnia.9
into the other processor. This is true even when Omnia.9 is using its internal playback and
regardless of which physical input is selected. The output of the other processor can be
monitored through Omnia.9’s Speaker or Headphone Monitor Output. The meters and controls
of the other process will be in real time, without delay, as the compensation delay will be before
the processor instead of after.

Display Settings Menu


2@="AKHD9Q1=LLAF?KE=FM AK L@=K9E=E=FM >GMF<AF L@=.JG;=KKAF?+=FM G> L@=.JG;=KKAF?K=;LAGF 
and is duplicated here for convenience.

89
Chapter 14 Studio Processing Menu

Chapter 14
Studio Processing Menu
“Talent is cheaper than table salt. What separates the
talented individual from the successful one
is a lot of hard work.” - Stephen King

90
Chapter 14 Studio Processing Menu

The Studio Processing Menu

The Studio Processing Core is a low-latency processing core mainly designed for talent monitoring. Its
E=FM 9DDGOKQGMLG;@GGK=L@=AFHMLKGMJ;= DG9<9F<K9N=HJ=K=LK 9F<E9C=;@9F?=KLGL@=.9J9E=LJA;
#IM9DAR=J  "GOFO9J< #PH9F<=JK  'FHML%!  5A<=:9F<%!  +MDLA:9F< 1L=J=G #F@9F;=J  +MDLA:9F<
%!9F<*AEAL=JK 5A<=:9F<%! 9F< 9F<+APK=;LAGFK

Processing Menu
2@=N9KLE9BGJALQG> L@= E=FMK 9F<;GFLJGDKAF -EFA9 XK 1LM<AG.JG;=KKAF? ;GJ=GH=J9L=BMKL 9KL@=AJ
;GMFL=JH9JLKAFL@=$+.JG;=KKAF?;GJ=<G <=L9AD=<=PHD9F9LAGFG>=9;@E=FM 9F<;GFLJGD;9F:=>GMF<
9F< J=>=J=F;=< AF L@= $+ .JG;=KKAF? E=FM K=;LAGF G> L@AK E9FM9D  2@= =P;=HLAGF AK L@= 9F< +AP
;GFLJGDK=PHD9AF=<:=DGO 

S The Band Mix Menu;GFL9AFKL@=;GFLJGDK>GJ L@= AF<ANA<M9D :9F<GMLHMLD=N=DK L@=$AF9D *AEAL=J


"JAN= L@=-MLHML*=N=D 9F<9FGHLAGFLG=F9:D=GJ:QH9KKL@=+MDLA:9F<*AEAL=JK

91
Chapter 14 Studio Processing Menu

S The Band Mix (coupled) KDA<=J9DDGOK QGM LG9<BMKLL@=GMLHMLD=N=DKG>9DD :9F<K KAEMDL9F=GMKDQ 


#9;@ :9F<;9F9DKG:=AF<ANA<M9DDQ9<BMKL=<OAL@ L@=Band 1 - Band 7 Level;GFLJGDK <BMKLE=FLK
here should be made carefully (especially additional gain) as the only processing stage following
this section is the Final Limiter.

S 2@=1LM<AGHJG;=KKAF? ;GJ=<G=K FGL MK= 9 YF9D;DAHH=J >GJ H=9C ;GFLJGD  'FKL=9< ALMK=K 9 DGGC
9@=9< DAEAL=J  O@A;@ AK 9<BMKL9:D= :Q L@= Final Limiter Drive control and operates in a range
between -6.00 and +6.00dB in one-quarter dB increments. Reducing limiter drive (sliding the control
LGL@=D=>L J=<M;=KL@=9EGMFLG>DAEALAF?9F<?AN=KQGM9EGJ=GH=FKGMF< :ML9LL@==PH=FK=G>
GN=J9DD DGM<F=KK !GFN=JK=DQ  AF;J=9KAF?DAEAL=J <JAN= EGNAF? L@= KDA<=J LGL@=JA?@L  OADD J=KMDL AF
EGJ=DAEALAF?9F<9DGM<=JGMLHML :ML9LL@==PH=FK=G><QF9EA;K

S Enabling the Multiband LimitersHJGNA<=K9 H=9C DAEAL=JLGJA<=9LGH =9;@ AF<ANA<M9D:9F< KAEAD9J


LGL@=9JJ9F?=E=FLAF L@=$+ &" 9F<1LM<AGHJG;=KKAF?;GJ=K "AK9:DAF?L@=DAEAL=JKJ=<M;=KL@=
already low latency times in the Studio processor core slightly.

92
Chapter 15 HD Processing Menu

Chapter 15
HD Processing Menu
!DBC;8:4?A>24BB8=65>A$
except for how it’s different.

93
Chapter 15 HD Processing Menu

The HD Processing Menu

2@= &"   &"   9F< &"  E=FMK G> -EFA9  HJGNA<= 9;;=KK LG 9DD K=;LAGFK G> L@= &" HJG;=KKAF?
;GJ=K <=H=F<AF?MHGF;GFY?MJ9LAGF $JGEL@AKE=FM QGM;9F ;@GGK=L@=AFHMLKGMJ;= DG9<9F<K9N=
HJ=K=LK 9F<E9C= ;@9F?=K LGL@=.9J9E=LJA; #IM9DAR=J  "GOFO9J<#PH9F<=JK 'FHML%!  5A<=:9F<
%!  +MDLA:9F< 1L=J=G #F@9F;=J  +MDLA:9F< %! 9F< *AEAL=JK  5A<=:9F< %!  9F< +AP  9KK
!DAHH=J 9F<$AF9D*AEAL=JK=;LAGFK 

It also includes its own Meter Options menu.

The HD processing cores are suitable for use in both HD Radio (iBiquity/NRSC-5) and DAB (Eureka 147)
9HHDA;9LAGFK<=H=F<AF?MHGF L@=K9EHD=J9L==KL9:DAK@=<AF L@=1QKL=E1QKL=E !GFY?19EHD=09L=
menu.

Processing Menu
All processing parameters for the individual HD cores are found here. Their functions are similar to those
in the FM processing core.

&GO=N=J DAC=L@=1LM<AG .JG;=KKAF?;GJ= L@=&" HJG;=KKAF?;GJ=K <GFGL MK=9 YF9D ;DAHH=J >GJ H=9C
;GFLJGD 'FKL=9< L@=QMK=9DGGC 9@=9<DAEAL=J O@A;@AK9<BMKL9:D=:QL@=Final Limiter Drive control and
operates in a range between -6.00 and +6.00dB in one-quarter dB increments. Reducing limiter drive
KDA<AF?L@=;GFLJGDLGL@=D=>L J=<M;=KL@=9EGMFLG>DAEALAF?9F<?AN=KQGM9EGJ=GH=FKGMF< :ML9LL@=
=PH=FK=G>GN=J9DDDGM<F=KK !GFN=JK=DQ AF;J=9KAF?DAEAL=J<JAN=EGNAF?L@=KDA<=JLGL@=JA?@L OADDJ=KMDL
AFEGJ=DAEALAF?9F<9DGM<=JGMLHML :ML9LL@==PH=FK=G>HMF;@

94
Chapter 15 HD Processing Menu

Meter Options Menu


(MKL9KL@=$+K=;LAGF @9K9+=L=J-HLAGFKE=FM KG<G=K L@=&" K=;LAGF AF;DM<AF?*GM<F=KK+=L=JK 
*GM<F=KK +9L;@=< 9F<2=KL'FHMLKM: E=FMKO@A;@ E9C=ALHGKKA:D= LG;GF<M;L ;GEH9JAKGFK
with another HD processor while matching gain and delay.

Loudness Meters Menu


The Loudness Meters Menu determines which meters are visible when the Loudness Meters are
displayed. Choices include Program Input Program Output, and Test Input meters.

95
Chapter 15 HD Processing Menu

Test Input Menu


2@=KGMJ;=9M<AG>GJL@=2=KL'FHMLAKK=D=;L=<@=J=9DGF?OAL@9<BMKLE=FLK>GJ?9AF9F<<=D9QLAE=9F<
an option for meter activity.

S The Delay KDA<=JHJGNA<=K:=LO==F 9F< EKG><=D9QLGLAE= 9DA?F9M<AG;GEAF?AF>JGEL@=


Test Input.

S The Physical Input<JGH <GOF E=FM <=L=JEAF=KL@=KGMJ;=G> L@=9M<AG>==<AF? L@=2=KL 'FHML 


AF;DM<AF?F9DG? +9AF"A?AL9D #10=>=J=F;= 9F<MP"A?AL9D

S The Gain;GFLJGDHJGNA<=K9<BMKLE=FL>GJ9M<AG>==<AF?L@=2=KL'FHML

S Enabling the Always Active option keeps the meter running (continuous integration) even when
the Program Input and Program Output sources are not actively being monitored at their
corresponding patch points.

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Chapter 15 HD Processing Menu

Loudness Matched A/B Menu


Loudness matching for HD works in the same manner as the corresponding section of the FM processing
core previously described in detail though the Source and Match options are different.

S Source audio and Match audio can both come from either the Program Input to the HD core or
from the Test Input as selected in the Test Input Menu.

Display Settings Menu


The Display Settings menu here is similar to the one found in the FM processing section but with patch
points for the HD processing cores.

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Chapter 16 Streaming Processing & Encoding Menu

Chapter 16
Streaming Processing &
Encoding Menu
No transmitter? No tower?
No problem.

98
Chapter 16 Streaming Processing & Encoding Menu

The Streaming Processing & Encoding Menu

2@=9M<AG>GJ1LJ=9EAKK@9J=<OAL@L@=$+9F<&"  K=;LAGFKG>-EFA9  O@AD=1LJ=9EK 9F<9J=


K@9J=< OAL@ L@=AJ ;GJJ=KHGF<AF? &"  9F< &"   &GO=N=J  =9;@ KLJ=9E ;9F := HJG;=KK=< ;GEHD=L=DQ
independently of its corresponding HD core.

2@=1LJ=9EAF?E=FM >GJ=9;@G>L@=1LJ=9EAF? 1LJ=9EAF? 9F<1LJ=9EAF?K=;LAGFK ;GFL9AFKKM:


menus for processing (provided the conditions that allow for independent streaming processing as
GMLDAF=<9:GN=9J=E= 9F<>GJ;GFY?MJAF?L@=N9JAGMK=F;G<=J9F<K=JN=JGHLAGFK 

<=L9AD=<=PHD9F9LAGF G> K=LLAF? MH9F< ;GFY?MJAF? KLJ=9EAF? =F;G<=JK 9F<K=JN=JK OGMD<J=IMAJ= 9F
=FLAJ=E9FM9DG>ALKGOF 9F<AK:=QGF<L@=K;GH=G>L@=?=F=J9D-EFA9 E9FM9D 5=@9N=9KKME=<L@9L
users who stream possess at least a basic knowledge of how streaming audio works and an
understanding of the differences between the various formats. We encourage you to work closely with
QGMJ'29<EAFAKLJ9LGJKLGG:L9AFL@=AF>GJE9LAGFKH=;AY;LGQGMJGH=J9LAGF

Processing Menu
2@=E=FMK9F<;GFLJGDK AF =9;@ G> -EFA9 XK1LJ=9EAF?;GJ=K GH=J9L=BMKL 9K L@=AJ ;GMFL=JH9JLKAF L@=
&".JG;=KKAF?;GJ=K<G O@A;@AFLMJF9J=N=JQKAEAD9JLGL@=AJ;GMFL=JH9JLKAF L@=$+HJG;=KKAF?K=;LAGF 
<=L9AD=< =PHD9F9LAGF G> =9;@ E=FM 9F< ;GFLJGD ;9F := >GMF<9F<J=>=J=F;=< AF L@=$+.JG;=KKAF?
menu section of this manual. Controls unique to the HD and Streaming sections are described in detail in
the HD Processing menu section.

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Chapter 16 Streaming Processing & Encoding Menu

Streams Menu
2@AKE=FM;GFL9AFKL@=;GFLJGDKF=;=KK9JQ LGK=LMH 9F<;GFY?MJ==9;@ G>L@==F9:D=<=F;G<=JK9F<AK
O@=J=<=L9ADKG>L@=K=JN=JK;9F:==FL=J=< 2@=LQH=9F<E9PAEMEFME:=JG>=F;G<=JK;9F:=K=LMH AF
L@=L@=1QKL=E1QKL=E!GFY?1LJ=9EAF?#F;G<=JKE=FM

Metadata Menu
Omnia 9‘s built-in http server can be used to feed information such as the song title and artist information
to the stream.

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Chapter 16 Streaming Processing & Encoding Menu

AAC Encoder Menu


2@=! #F;G<=J E=FM 9DDGOK QGM LG =F9:D= GJ <AK9:D= L@= KLJ=9E  9<BMKL ALK GMLHML?9AF  =FL=J L@=
KLJ=9EXKLALD= 9F<K=D=;LL@=1 0+G<= ;@9FF=DEG<= K9EHD=J9L= :ALJ9L= 9F<9M<AG:9F<OA<L@

S The TitleY=D<9DDGOKQGMLG=FL=JL@=KLJ=9E LALD=<AKHD9Q=<LGDAKL=F=JK9F<GF HM:DA; DAKLAF?K KM;@


as shoutcast.com.

S The Enable;GFLJGD =F9:D=KGJ<AK9:D=KL@=KLJ=9E 5@=F =F9:D=< L@==F;G<=J OADD;GFLAFM9DDQLJQ


LG;GFF=;LLGL@=KH=;AY=<K=JN=J

S The SBR (Spectral Band Replication) Mode LG??D=K :=LO==F ->>  -F  9F< -N=JK9EHD=<  5=
J=;GEE=F<K=LLAF?L@AK;GFLJGD LG->>!  >GJ :AL J9L=K G>C:HK GJ@A?@=J -F !
 >GJ :AL
J9L=KG>C:HKGJDGO=J 9F<-N=JK9EHD=<>GJ:ALJ9L=K:=LO==F9F<C:HK

S The Channel Mode E=FM HJGNA<=K 9 ;@GA;= :=LO==F +GFG  1L=J=G  1L=J=G 'F<=H=F<=FL 
.9J9E=LJA; 1L=J=G  9F<"M9D !@9FF=D 5=J=;GEE=F<K=LLAF? L@AK ;GFLJGD LG1L=J=G>GJ :ALJ9L=K
over 40kbps and to Parametric Stereo for bit rates of 40kbps and lower. Mono should be used only
if the program material is mono. Because the Stereo Independent and Dual Channel settings force
the encoder to divide bits equally between the left and right channels instead of allowing it to

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Chapter 16 Streaming Processing & Encoding Menu

9DDG;9L=L@=:ALK 9K F==<=< O=J=;GEE=F<FGL MKAF?L@=K= K=LLAF?KMFD=KK QGM @9N= 9 KH=;AY;


reason to do so.

S The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps. Your
;@GA;=G>:ALJ9L=K=LLAF?KOADDKA?FAY;9FLDQAFZM=F;=L@=9M<AGIM9DALQ G>QGMJKLJ=9E &GO=N=J QGM
OADD 9DKG F==< LG L9C= GL@=J >9;LGJK AFLG ;GFKA<=J9LAGF  KM;@ 9K L@= LGL9D 9EGMFL G> :9F<OA<L@
9N9AD9:D=>GJ L@=KLJ=9E  L@= 9FLA;AH9L=<FME:=J G>MK=JK  QGMJ E9PAEME MHDG9<KH==<  9F< L@=
download speed limits of your intended users.

S The Audio Bandwidth menu allows you to set the high frequency range of the stream between 8
9F< C&R  3FD=KK QGM @9N= 9 KH=;AY; J=9KGF LG K=L L@= :9F<OA<L@ E9FM9DDQ  O= KLJGF?DQ
recommend leaving this control set to Encoder Default.

S The Sample RateE=FM OADD =AL@=J E9AFL9AF -EFA9 XK KQKL=E K9EHD=J9L=G>  C&RGJ C&R
<=H=F<AF?GF L@=K9EHD=J9L=K=LLAF?  AF L@==F;G<=J GJ J=KMDLAF 9 @A?@ IM9DALQ J= K9EHD=LG 
  GJC&R

S The setting of the Gain ;GFLJGD AK ;JALA;9D  ,GJE9DDQ  L@AK;GFLJGD ;9F :=D=>L9L  &GO=N=J L@=J=
9J=LAE=K O@=F QGM OADD O9FLLG J=<M;=L@=AFHMLD=N=D AFLGL@==F;G<=J $GJ =P9EHD=  A>QGM 9J=
=EHDGQAF?9 DGLG>H=9C DAEALAF?AF L@=1LJ=9EAF?;GJ=9F<MKAF?!
 =F;G<AF?9L9 DGO :ALJ9L= 
there will be peak overshoots created as a side effect of the bit rate reduction. Unless the input
D=N=D AFLGL@==F;G<=J AKJ=<M;=<  ALOADD :=MH LGL@=DAKL=F=JXK<=;G<=J LG<=9D OAL@ L@==P;=KKAN=
D=N=DK O@A;@ OADDEGKL;=JL9AFDQ<=?J9<=L@=IM9DALQG>L@=9M<AG 7GME9Q9DKG;GFKA<=J:9;CAF?G>>
the Final Limiter Drive from within the Streaming processing core.

AAC Server Menu


The AAC Server menu allows you to input and set up your server settings.

S The TitleY=D<K@GMD<;GFL9AFL@=F9E=G>QGMJ9M<AGKLJ=9E

S The Server Y=D<K@GMD<;GFL9AF L@=30*G>L@= K=JN=J AF;DM<AF?L@= HGJL AF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J =P9EHD= ;GEV

S The Mount PointY=D<>GJ ';=;9KLK=JN=JK  K@GMD<;GFL9AF L@=EGMFLHGAFLGFL@=K=JN=J AF L@=


>GDDGOAF?>GJE9LU=P9EHD= EHV>GDDGOAF?L@=K=JN=JF9E=

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Chapter 16 Streaming Processing & Encoding Menu

S Enabling the Allow Public Listing ;GFLJGD K=LK L@= UHM:DA; DAKLAF? 9DDGO=<VZ9? AF L@= KLJ=9E  9K
determined by the server.

S The Server Type control allows you to choose between Shoutcast and Icecast2.

S The Mime Type ;GFLJGD KH=;AY=K L@= &22. +AE= 2QH= G> L@= KLJ=9E 9F< <=L=JEAF=K O@=L@=J
Audio/AAC or Audio/AACP settings are used to provide for player compatibility.

S The URL Y=D< AK 9 E=L9<9L9 Y=D< O@GK= AF>GJE9LAGF AK K=FL LG L@= K=JN=J LG := HGL=FLA9DDQ 
<AKHD9Q=<AFL@=DAKLAF?K9F<HD9Q=J 2@=30*AKLQHA;9DDQL@=KL9LAGFXKG>Y;A9D@GE=H9?=

S The User NameY=D<;GFL9AFKL@=MK=JDG? AF F9E=>GJL@=K=JN=J

S The PasswordY=D<;GFL9AFKL@=H9KKOGJ<>GJL@=K=JN=J

S The Genre Y=D< AK 9DKG 9 E=L9<9L9 Y=D<  2@= LQH= GJ KLQD= G> ;GFL=FL >GMF< GF L@= KLJ=9E AK
typically entered here.

S The Apply Immediately control determines whether any changes you make to the server settings
take effect immediately or when you manually reconnect.

MP3 Encoder Menu


2@=+. #F;G<=J E=FM 9DDGOK QGM LG =F9:D=GJ <AK9:D= L@= KLJ=9E  9<BMKL ALK GMLHML ?9AF  =FL=J L@=
KLJ=9EXKLALD= 9F<K=D=;LL@=;@9FF=DEG<= K9EHD=J9L= :ALJ9L= 9M<AG:9F<OA<L@ 9F<=F;G<AF?IM9DALQ

S The TitleY=D<9DDGOKQGMLG=FL=JL@=KLJ=9E LALD=<AKHD9Q=<LGDAKL=F=JK9F<GF HM:DA; DAKLAF?K KM;@


as shoutcast.com.

S The Enable;GFLJGD =F9:D=KGJ<AK9:D=KL@=KLJ=9E 5@=F =F9:D=< L@==F;G<=J OADD;GFLAFM9DDQLJQ


LG;GFF=;LLGL@=KH=;AY=<K=JN=J

S The Channel Mode E=FM HJGNA<=K 9 ;@GA;= :=LO==F +GFG  1L=J=G  9F< 1L=J=G 'F<=H=F<=FL 
Because the Stereo Independent settings forces the encoder to divide bits equally between the left
9F<JA?@L;@9FF=DKAFKL=9<G>9DDGOAF?ALLG9DDG;9L=L@=:ALK 9K F==<=< O= J=;GEE=F<FGLMKAF?
L@AKK=LLAF?KMFD=KKQGM@9N=9KH=;AY;J=9KGFLG<GKG

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Chapter 16 Streaming Processing & Encoding Menu

S The Sample RateE=FM OADD =AL@=J E9AFL9AF -EFA9 XK KQKL=E K9EHD=J9L=G>  C&RGJ C&R
<=H=F<AF? GF L@=K9EHD=J9L=K=LLAF?  AF L@==F;G<=J GJ J=KMDL AF 9 @A?@ IM9DALQJ= K9EHD=LG 
       C&R

S The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps. Your
;@GA;=G>:ALJ9L=K=LLAF?KOADDKA?FAY;9FLDQAFZM=F;=L@=9M<AGIM9DALQ G>QGMJKLJ=9E &GO=N=J QGM
OADD 9DKG F==< LG L9C= GL@=J >9;LGJK AFLG ;GFKA<=J9LAGF  KM;@ 9K L@= LGL9D 9EGMFL G> :9F<OA<L@
9N9AD9:D=>GJ L@=KLJ=9E  L@= 9FLA;AH9L=<FME:=J G>MK=JK  QGMJ E9PAEME MHDG9<KH==<  9F< L@=
download speed limits of your intended users.

S The Audio Bandwidth menu allows you to set the high frequency range of the stream between 3
9F< C&8  3FD=KK QGM @9N= 9 KH=;AY; J=9KGF LG K=L L@= :9F<OA<L@ E9FM9DDQ  O= KLJGF?DQ
recommend leaving this control set to Encoder Default.

S The Encoding Quality E=FMHJGNA<=K9 ;@GA;=:=LO==F =KL ,GJE9D 9F<*GO!.3O@A;@9DDGOK


you to balance the tradeoff between higher audio quality and lower CPU usage.

S The Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=D AFLGL@==F;G<=J '>QGM9J==F;G<AF?LG9DGO:AL


GJK9EHD=J9L= QGM OADD 9DEGKL;=JL9AFDQ F==<LGLMJF L@AK<GOF LGHJ=N=FL@9JK@;J9;CDAF?KGMF<K
resulting from clipping in the receiving decoder.

MP3 Server Menu


The MP3 Server menu allows you to input and set up your server settings.

S The TitleY=D<9DDGOKQGMLG=FL=JL@=F9E=G>L@==F;G<=J

S The Server Y=D<K@GMD<;GFL9AF L@=30*G>L@= K=JN=J AF;DM<AF?L@= HGJL AF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J =P9EHD= ;GEV

S The Mount PointY=D<>GJ ';=;9KLK=JN=JK  K@GMD<;GFL9AF L@=EGMFLHGAFLGFL@=K=JN=J AF L@=


>GDDGOAF?>GJE9LU=P9EHD= EHV>GDDGOAF?L@=K=JN=JF9E=

S Enabling the Allow Public Listing ;GFLJGD K=LK L@= UHM:DA; DAKLAF? 9DDGO=<VZ9? AF L@= KLJ=9E  9K
determined by the server.

S The Server Type control allows you to choose between Shoutcast and Icecast2.

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Chapter 16 Streaming Processing & Encoding Menu

S The URL Y=D< AK 9 E=L9<9L9 Y=D< O@GK= AF>GJE9LAGF AK K=FL LG L@= K=JN=J LG := HGL=FLA9DDQ 
<AKHD9Q=<AFL@=DAKLAF?K9F<HD9Q=J 2@=30*AKLQHA;9DDQL@=KL9LAGFXKG>Y;A9D@GE=H9?=

S The User NameY=D<;GFL9AFKL@=MK=JDG? AF F9E=>GJL@=K=JN=J

S The PasswordY=D<;GFL9AFKL@=H9KKOGJ<>GJL@=K=JN=J

S The Genre Y=D< AK 9DKG 9 E=L9<9L9 Y=D<  2@= LQH= GJ KLQD= G> ;GFL=FL >GMF< GF L@= KLJ=9E AK
typically entered here.

S The Apply Immediately control determines whether any changes you make to the server settings
take effect immediately or when you manually reconnect.

MP2 Encoder Menu


2@=+. #F;G<=J E=FM 9DDGOK QGM LG =F9:D=GJ <AK9:D= L@= KLJ=9E  9<BMKL ALK GMLHML ?9AF  =FL=J L@=
KLJ=9EXKLALD= 9F<K=D=;LL@=;@9FF=DEG<= K9EHD=J9L= 9F<:ALJ9L=

S The TitleY=D<9DDGOKQGMLG=FL=JL@=KLJ=9E LALD=<AKHD9Q=<LGDAKL=F=JK9F<GF HM:DA; DAKLAF?K KM;@


as shoutcast.com.

S The Enable;GFLJGD =F9:D=KGJ<AK9:D=KL@=KLJ=9E 5@=F =F9:D=< L@==F;G<=J OADD;GFLAFM9DDQLJQ


LG;GFF=;LLGL@=KH=;AY=<K=JN=J

S The Channel Mode E=FM HJGNA<=K 9 ;@GA;= :=LO==F +GFG  1L=J=G  (GAFL 1L=J=G  9F< "M9D
Channel.

S The Bit Rate menu allows you to choose encoding bit rates between 64kbps and 384kbps. Your
;@GA;=G>:ALJ9L=K=LLAF?KOADDKA?FAY;9FLDQAFZM=F;=L@=9M<AGIM9DALQ G>QGMJKLJ=9E &GO=N=J QGM
OADD 9DKG F==< LG L9C= GL@=J >9;LGJK AFLG ;GFKA<=J9LAGF  KM;@ 9K L@= LGL9D 9EGMFL G> :9F<OA<L@
9N9AD9:D=>GJ L@=KLJ=9E  L@= 9FLA;AH9L=<FME:=J G>MK=JK  QGMJ E9PAEME MHDG9<KH==<  9F< L@=
download speed limits of your intended users.

S The Sample RateE=FM OADD =AL@=J E9AFL9AF -EFA9 XK KQKL=E K9EHD=J9L=G>  C&RGJ C&R
<=H=F<AF? GF L@=K9EHD=J9L=K=LLAF?  AF L@==F;G<=J GJ J=KMDL AF 9 @A?@ IM9DALQJ= K9EHD=LG 
       C&R

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Chapter 16 Streaming Processing & Encoding Menu

S The Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=DAFLGL@==F;G<=J

MP2 Server Menu


The MP2 Server menu allows you to input and set up your server settings.

S The TitleY=D<9DDGOKQGMLG=FL=JL@=KLJ=9E LALD=<AKHD9Q=<LGDAKL=F=JK9F<GF HM:DA; DAKLAF?K KM;@


as shoutcast.com.

S The Server Y=D<K@GMD<;GFL9AF L@=30*G>L@= K=JN=J AF;DM<AF?L@= HGJL AF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J =P9EHD= ;GEV

S The Mount Point Y=D<>GJ ';=;9KLK=JN=JK  K@GMD<;GFL9AF L@=EGMFLHGAFLGFL@=K=JN=J AF L@=


>GDDGOAF?>GJE9LU=P9EHD= EHV>GDDGOAF?L@=K=JN=JF9E=

S Enabling the Allow Public Listing ;GFLJGD K=LK L@= UHM:DA; DAKLAF? 9DDGO=<VZ9? AF L@= KLJ=9E  9K
determined by the server.

S The Server Type control allows you to choose between Shoutcast and Icecast2.

S The URL Y=D< AK 9 E=L9<9L9 Y=D< O@GK= AF>GJE9LAGF AK K=FL LG L@= K=JN=J LG := HGL=FLA9DDQ 
<AKHD9Q=<AFL@=DAKLAF?K9F<HD9Q=J 2@=30*AKLQHA;9DDQL@=KL9LAGFXKG>Y;A9D@GE=H9?=

S The User NameY=D<;GFL9AFKL@=MK=JDG? AF F9E=>GJL@=K=JN=J



S The PasswordY=D<;GFL9AFKL@=H9KKOGJ<>GJL@=K=JN=J

S The Genre Y=D< AK 9DKG 9 E=L9<9L9 Y=D<  2@= LQH= GJ KLQD= G> ;GFL=FL >GMF< GF L@= KLJ=9E AK
typically entered here.

S The Apply Immediately control determines whether any changes you make to the server settings
take effect immediately or when you manually reconnect.

Vorbis Encoder Menu


2@=4GJ:AK =F;G<=J E=FM 9DDGOK QGM LG=F9:D= GJ <AK9:D=L@=KLJ=9E  9<BMKLALKGMLHML?9AF  =FL=J L@=
KLJ=9EXKLALD=9F<-??+=L9<9L9 9F<K=D=;LL@=;@9FF=DEG<= K9EHD=J9L= 9F<IM9DALQEG<=

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Chapter 16 Streaming Processing & Encoding Menu

S The TitleY=D<9DDGOKQGMLG=FL=JL@=KLJ=9E LALD=<AKHD9Q=<LGDAKL=F=JK9F<GF HM:DA; DAKLAF?K KM;@


as shoutcast.com.

S The Enable ;GFLJGD =F9:D=KGJ<AK9:D=KL@=KLJ=9E 5@=F =F9:D=< L@==F;G<=J OADD;GFLAFM9DDQLJQ


LG;GFF=;LLGL@=KH=;AY=<K=JN=J

S The Channel Mode menu provides a choice between Mono and Stereo.

S The Sample Rate E=FM OADD =AL@=J E9AFL9AF -EFA9 XK K9EHD= J9L= G>  C&R GJ C&R
<=H=F<AF? GF L@= K9EHD=J9L= K=LLAF? AF L@= =F;G<=J  GJ J=KMDL AF 9 @A?@ IM9DALQ J= K9EHD= LG 
       GJ C&R

S The Quality ModeE=FM9DDGOKQGM LG;@GGK=>JGE9 J9F?=G>K=LLAF?K:=LO==F4 0 9F<4 0


 2@=4GJ:AK;G<=; AK:QF9LMJ=9 N9JA9:D=:ALJ9L==F;G<=J :ML>GJJ=>=J=F;= O=@9N=AF;DM<=<9F
9HHJGPAE9L=9N=J9?=:ALJ9L=>GJIM9DALQEG<=KDGO=JL@9F4 0

S The Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=DAFLGL@==F;G<=J

Vorbis Server Menu


2@=4GJ:AK1=JN=JE=FM9DDGOKQGMLGAFHML9F<K=LMHQGMJK=JN=JK=LLAF?K

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Chapter 16 Streaming Processing & Encoding Menu

S The TitleY=D<9DDGOKQGMLG=FL=JL@=F9E=G>QGMJ9M<AGKLJ=9E

S The Server Y=D<K@GMD<;GFL9AF L@=30*G>L@= K=JN=J AF;DM<AF?L@= HGJL AF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J =P9EHD= ;GEV

S The Mount PointY=D<>GJ ';=;9KLK=JN=JK  K@GMD<;GFL9AF L@=EGMFLHGAFLGFL@=K=JN=J AF L@=


>GDDGOAF?>GJE9LU=P9EHD= EHV>GDDGOAF?L@=K=JN=JF9E=

S Enabling the Allow Public Listing ;GFLJGD K=LK L@= UHM:DA; DAKLAF? 9DDGO=<VZ9? AF L@= KLJ=9E  9K
determined by the server.

S The URL Y=D< AK 9 E=L9<9L9 Y=D< O@GK= AF>GJE9LAGF AK K=FL LG L@= K=JN=J LG := HGL=FLA9DDQ 
<AKHD9Q=<AFL@=DAKLAF?K9F<HD9Q=J 2@=30*AKLQHA;9DDQL@=KL9LAGFXKG>Y;A9D@GE=H9?=

S The User NameY=D<;GFL9AFKL@=MK=JDG? AF F9E=>GJL@=K=JN=J

S The PasswordY=D<;GFL9AFKL@=H9KKOGJ<>GJL@=K=JN=J

S The Genre Y=D< AK 9DKG 9 E=L9<9L9 Y=D<  2@= LQH= GJ KLQD= G> ;GFL=FL >GMF< GF L@= KLJ=9E AK
typically entered here.

S The Apply Immediately control determines whether any changes you make to the server settings
take effect immediately.

WMA Encoder Menu


2@=5+5AF<GOK +=<A9M<AG  =F;G<=J E=FM 9DDGOKQGM LG=F9:D=GJ <AK9:D=L@=KLJ=9E 9<BMKLALK
GMLHML?9AF =FL=JL@=KLJ=9EXKLALD= 9F<K=D=;LL@==F;G<=JLQH=9F<>GJE9L

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Chapter 16 Streaming Processing & Encoding Menu

S The TitleY=D<9DDGOKQGMLG=FL=JL@=F9E=G>L@==F;G<=J

S The Enable;GFLJGD =F9:D=KGJ<AK9:D=KL@=KLJ=9E 5@=F =F9:D=< L@==F;G<=J OADD;GFLAFM9DDQLJQ


LG;GFF=;LLGL@=KH=;AY=<K=JN=J

S The Encoder menu lets you choose between Windows Media Audio 9 and Windows Media Audio 9
Professional

S The Format menu allows you to choose a combination of bit rates and sample rates to determine
the quality of the audio stream.

S The Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=DG>L@==F;G<=J

WMA Server Menu


The WMA Server menu allows you to input and set up your server settings.

S The TitleY=D<9DDGOKQGMLG=FL=JL@=F9E=G>QGMJ9M<AGKLJ=9E

S The Genre Y=D< AK 9DKG 9 E=L9<9L9 Y=D<  2@= LQH= GJ KLQD= G> ;GFL=FL >GMF< GF L@= KLJ=9E AK
typically entered here.

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Chapter 16 Streaming Processing & Encoding Menu

S The Pull PortY=D<9DDGOKQGMLG=FL=JL@=K=JN=JXKHGJLFME:=J 

S The Max Pull Clients ;GFLJGD D=LK QGM K=L L@= E9PAEME FME:=J G> HMDD ;DA=FLK  5= KLJGF?DQ
recommend against letting listeners through directly without a server in between.

S The Push ;GFLJGD =F9:D=K GJ <AK9:D=K HMK@ ;9H9:ADALA=K GMLO9J< LGO9J< L@= K=JN=J  EM;@ DAC=
';=;9KLGJ1@GML;9KL 5@=F=F9:D=< Y=D<K>GJHJGNA<AF?L@=.MK@30* 2=EHD9L= 3K=J,9E= 9F<
Password are accessible. Note that the mount point must be part of the server push URL - for
=P9EHD= http://omniaaudio.com/mountpoint

Meter Options Menu


(MKL9KL@=$+9F<&" K=;LAGFK@9N=9 +=L=J -HLAGFKE=FM KG<G=KL@=1LJ=9EAF?K=;LAGF AF;DM<AF?
*GM<F=KK +=L=JK  *GM<F=KK+9L;@=< 9F<2=KL'FHMLKM: E=FMKO@A;@ E9C=ALHGKKA:D=LG;GF<M;L
 ;GEH9JAKGFKOAL@ 9FGL@=JHJG;=KKGJO@AD=E9L;@AF??9AF 9F<<=D9Q !GFLJGDK9J==PHD9AF=<AF <=L9AD
in HD section.

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Chapter 17 Monitor Output Menu

Chapter 17
Monitor Output Menu
Q: If blissfully clean audio reaches the transmitter but you
can’t hear it in the studio, does it make a sound?

A: Yes, but you’re really missing out.

111
Chapter 17 Monitor Output Menu

The Monitor Output Menu

2@= +GFALGJ -MLHML E=FM G> -EFA9  9DDGOK QGM LG AF<=H=F<=FLDQ ;GFY?MJ= L@= 1H=9C=J -MLHML 
&=9<H@GF= -MLHML  9F< MPADA9JQ -MLHML  2@= E=FMK 9F< ;GFLJGDK >GJ =9;@ G> L@=K= K=;LAGFK 9J=
identical.

$JGE L@AK E=FM  QGM ;9F ;@GGK= O@A;@ G> -EFA9 XK HJG;=KKAF? ;GJ=K QGM OAK@ LG EGFALGJ  9F< >JGE
OAL@AF=9;@;GJ= O@A;@KH=;AY;H9L;@HGAFL

'F 9<<ALAGF  QGM ;9F *G9<9F<19N= HJ=K=LK  9<BMKL GN=J9DD NGDME=D=N=DK 9F<AF<ANA<M9D D=>L 9F<JA?@L
;@9FF=D D=N=DK  9;;=KK L@=:MADL AF HAFC FGAK=?=F=J9LGJK AF<=H=F<=FLDQ <=D9Q L@=GMLHMLG>L@=D=>L9F<
JA?@L;@9FF=DK KGDGL@=D=>L 9F<JA?@L;@9FF=DK AFN=JLL@=H@9K=G>=9;@ ;@9FF=D ;GMHD=9F<MF ;GMHD=
L@=D=>L9F<JA?@L;@9FF=DK >GJ <=D9Q 9F<#/ K=LL@=>J=IM=F;QG>L@=@A?@ H9KKYDL=J K=LL@= 9KK!DAH
9F<*AEAL=JL@J=K@GD<K 9F<9;;=KKL@=DGM<F=KK9F<H9J9E=LJA;=IM9DAR=JK=;LAGFK 

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Chapter 17 Monitor Output Menu

)==H AF EAF<L@9L9DL@GM?@ KGE= G>L@= >=9LMJ=K  L=JEK  9F< LGGDK AF L@=+GFALGJ -MLHMLK=;LAGFK 9J=
KAEAD9JGJA<=FLA;9D LGL@=AJ ;GMFL=JH9JLKAF-EFA9 XKN9JAGMKHJG;=KKAF?;GJ=K KM;@ 9KL@=L=JEUHJ=K=L V
L@=Q @9N= FG AEH9;L GF L@= 9AJ  +GFALGJ -MLHMLK GFDQ ;GFLJGD O@9L QGM @=9J L@JGM?@ L@= 1H=9C=J 
&=9<H@GF= GJMPGMLHMLK

Patch Points Menu


The Patch Point menu lets you choose which of Omnia.9’s processing cores you wish to monitor in the
1H=9C=J &=9<H@GF=  9F<MP GMLHMLK  9F< EGJ=KH=;AY;9DDQ  O@A;@ HGAFLOAL@AF L@9L ;GJ=QGM O9FLLG
hear. The patch point currently being monitored appears in the corresponding volume control at the top of
the screen.

'F 9 LQHA;9D J9<AGKL9LAGF K;=F9JAG L@=1H=9C=J -MLHMLEA?@L:=MK=<LG>==<L@=;GFLJGD JGGEEGFALGJK


and the Headphone Output might be used to feed talent headphones. Each situation and application will
:=<A>>=J=FL 9F<L@=;@GA;=G>@GOLGMLADAR=L@=EGFALGJGMLHMLKAKMHLGQGM

-F= AEHGJL9FL >=9LMJ= LGMF<=JKL9F< O=DD AK L@= $GDDGO ;GFLJGD O@A;@ AK K=L LGU->>V :Q <=>9MDL  5@=F
$GDDGO AK =F9:D=< AF 9 H9JLA;MD9J MK=J AFL=J>9;=GF 9 H9JLA;MD9J +GFALGJ -MLHML  L@= H9L;@ HGAFLKGMJ;=
audio) of that Monitor Output will conveniently “follow” along with you as you navigate to different
processing cores in that user interface. Keep in mind that anyone else listening to that same Monitor
Output will also be affected. The On/Off status of Follow is independently associated with each remote
connection (or the front panel).

FM Processing Patch Points


You can feed each of the three Monitor Outputs audio from various points within the FM processing core.

S The I/O E=FM D=LK QGM DAKL=F LG .JG?J9E 'FHML  *GM<F=KK +9L;@=<   +.6 -MLHML  9F< *0
-MLHMLG>L@=$+HJG;=KKAF?;GJ= <<ALAGF9DDQ :GL@ +.6'FHML9F<;9F:=EGFALGJ=< ,GL=L@9L
only those processing cores that have been enabled will be available.

S The De-clipper menu lets you hear audio either before or after the de-clipper.

S The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the
<= ;DAHH=J 9F< EMDLA:9F<=PH9F<=J 2@= 9N9AD9:D=FME:=J G> :9F<K AK <=L=JEAF=< :Q L@= ;MJJ=FL
processing preset.

S The Undo PostE=FM D=LKQGM DAKL=FLGGMLHMLG>L@==FLAJ=3F<GK=;LAGF GJ LGL@=GMLHMLG>=9;@


individual Undo band before it enters the main audio processing core.

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Chapter 17 Monitor Output Menu

S The Miscellaneous E=FM D=LK QGM DAKL=F LG L@= 9M<AG 9>L=J 'FHML $ADL=JAF?  9>L=J +MDLA:9F<
HJG;=KKAF? 9>L=JL@= 9KK!DAHH=J 9>L=JL@=*GM<F=KK+9L;@=<AFHML 9K9F+.6KA?F9DOAL@FGAK= 
or at the Program Pass-through patch point.

S The MPX DecodedE=FM 9DDGOKQGM LGDAKL=F LG<=;G<=<HJ= =EH@9KAR=<<= =EH@9KAR=< 9M<AG


>JGEL@=+.6-MLHML +.6'FHML GJ+.6'FHML

S The Multiband DRC SoloE=FMD=LKQGM DAKL=FLGL@=9M<AG9>L=JL@=.9J9E=LJA;#/ AF =9;@G>L@=


%! 5A<=:9F< 9F<5A<=:9F< KA<=;@9AFK 9F<9LL@=GMLHML G>=9;@ AF<ANA<M9D :9F< G> L@=
Multiband processing section.

Studio Processing Patch Points


You can feed each of the three Monitor Outputs audio from various points within the Studio Processing
core.

S The I/O menu allows you to listen to the Program Input or Studio Output.

S The Physical Inputs E=FM9DDGOKQGMLGEGFALGJ9FQG>L@=J=9J H9F=DAFHMLHGAFLK AF;DM<AF?+9AF


"A?AL9D #10=>=J=F;= MP"A?AL9D 9F<F9DG?

HD-1, HD-2, and HD-3 Patch Points


You can feed each of the three Monitor Outputs audio from various points within any of the HD processing
cores.

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Chapter 17 Monitor Output Menu

S The I/O E=FM 9DDGOK QGM LGDAKL=F LG=AL@=J L@=.JG?J9E 'FHML L@=*GM<F=KK+9L;@=< H9L;@
HGAFL L@="A?AL9D-MLHML 9F<L@=2=KL'FHMLG>=9;@&"HJG;=KKAF?;GJ=

S The De-clipper menu lets you monitor the audio either before or after the De-clipper.

S The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the
entire Undo chain.

S The Undo PostE=FM D=LK QGMDAKL=F LGL@=9M<AGG>L@=3F<GK=;LAGF GJLG=9;@ AF<ANA<M9D 3F<G


band after it has been processed by Undo but before it enters the main audio processing core.

S The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched
Input.

S The Physical Inputs E=FM9DDGOKQGMLGEGFALGJ9FQG>L@=J=9J H9F=DAFHMLHGAFLK AF;DM<AF?+9AF


"A?AL9D #10=>=J=F;= MP"A?AL9D 9F<F9DG?

S The SidechainsE=FM 9DDGOKQGM LGEGFALGJ L@=9M<AGH9KKAF?L@JGM?@ L@='FHML%! 5A<=:9F<


%!   5A<=:9F<%!   9F<5A<=:9F<%! KA<=;@9AFK 9K O=DD 9K L@=9;LM9D GMLHML9M<AG
from each of those stages.

S The Multiband Solo menu allows you to individually monitor the audio in each band of the
multiband AGC.

Streaming 1, Streaming 2, and Streaming 3 Patch Points


You can feed each of the three Monitor Outputs audio from various points within each of the Streaming
processing cores.

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Chapter 17 Monitor Output Menu

S The I/O E=FM 9DDGOK QGM LGDAKL=F LG=AL@=J L@=.JG?J9E 'FHML L@=*GM<F=KK+9L;@=< H9L;@
HGAFL L@="A?AL9D-MLHML 9F<L@=2=KL'FHMLG>=9;@1LJ=9EAF?HJG;=KKAF?;GJ=

S The De-clipper menu lets you monitor the audio either before or after the De-clipper.

S The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the
entire Undo chain.

S The Undo PostE=FM D=LK QGMDAKL=F LGL@=9M<AGG>L@=3F<GK=;LAGF GJLG=9;@ AF<ANA<M9D 3F<G


band after it has been processed by Undo but before it enters the main audio processing core.

S The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched
Input.

S The Physical Inputs E=FM9DDGOKQGMLGEGFALGJ9FQG>L@=J=9J H9F=DAFHMLHGAFLK AF;DM<AF?+9AF


"A?AL9D #10=>=J=F;= MP"A?AL9D 9F<F9DG?

S The SidechainsE=FM 9DDGOKQGM LGEGFALGJ L@=9M<AGH9KKAF?L@JGM?@ L@='FHML%! 5A<=:9F<


%!   5A<=:9F<%!   9F<5A<=:9F<%! KA<=;@9AFK 9K O=DD 9K L@=9;LM9D GMLHML9M<AG
from each of those stages.

S The Multiband Solo menu allows you to individually monitor the audio in each band of the
multiband AGC.

Load Preset Menu


=;9MK=-EFA9  HJGNA<=K 9DDG> L@=LGGDKTEAFMK9 ;9DA:J9L=<EA;JGH@GF=TLGH=J>GJE KH=9C=JJGGE
;9DA:J9LAGFK >GJ =9;@ G> L@= +GFALGJ -MLHMLK  AL 9DKG HJGNA<=K 9 O9Q >GJ QGM LG KLGJ= L@GK= ;9DA:J9L=<
settings in the form of presets.

It is important to remember that this menu refers to presets you create and save yourself for speaker
calibrations within each of the three Monitor Outputs. These are not the same as your processing presets!
&GO=N=J L@=E=FMKOGJCAFL@=K9E=O9Q

The Load Preset menu allows you view the preset you are currently feeding to the particular Monitor
-MLHML LG??D=:9;C 9F<>GJL@ :=LO==F L@=;MJJ=FL9F<:9;CMH HJ=K=LK DG9<9F=OHJ=K=L ;GEH9J=L@=
K=LLAF?KG>LOGHJ=K=LK 9F<<=D=L=MK=JHJ=K=LK

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Chapter 17 Monitor Output Menu

S Highlighting a preset from the list places it in the Load button. Selecting the Load button puts that
immediately loads the preset and moves it up to the Current Preset position. The preset that was
previously audible will become the Backup Preset. You may also load a preset directly from the list
by double tapping it.

S >L=J;@9F?AF?9FQH9J9E=L=JG>9HJ=K=L 9F(M)9HH=9JKF=PLLGL@=!MJJ=FL.J=K=LF9E=9F<L@=
L=PLLMJFKQ=DDGOLGAF<A;9L=L@=HJ=K=L@9K:==FEG<AY=<:MLFGLQ=LK9N=< 

S 2@= 9;CMH .J=K=L9DKG:=;GE=K L@=>GJE=J 9F<MFEG<AY=< !MJJ=FL.J=K=L 2@AK9DDGOK QGM LG


LG??D=:9;C9F<>GJL@LG@=9JL@=<A>>=J=F;=:=LO==FL@=GJA?AF9D9F<EG<AY=<HJ=K=LK

S !@9F?=KLG=9;@H9J9E=L=JQGM 9<BMKL=<LG;J=9L=L@=EG<AY=<HJ=K=L9J=9DKG<AKHD9Q=<AFQ=DDGO
GF L@=KH=;AY; ;GFLJGD :MLLGF AF =9;@ K=;LAGF G> L@= HJG;=KKAF? ;GJ=  HJGNA<AF? 9F AFKL9FL NAKM9D
;GEH9JAKGF:=LO==FL@=EG<AY=<HJ=K=L9F<L@=GJA?AF9DHJ=K=LMHGFO@A;@ALAK:9K=<

S 7GM ;9F 9DKG ;GEH9J= L@= <A>>=J=F;=K :=LO==F L@= !MJJ=FL .J=K=L 9F< L@= 9;CMH  .J=K=L 
HJGNA<AF?F=AL@=J @9N=:==F EG<AY=<  :QK=D=;LAF?L@= Diff Preset button. Any control settings in
the Current Preset that are different from those in the Backup Preset will be displayed in yellow in
their respective sections.

S Selecting the Delete Preset button allows you to permanently delete a preset from the list.

Save Preset Menu


The Save Preset menu allows you to edit the name of or save over a preset.

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Chapter 17 Monitor Output Menu

S 7GM ;9F J=F9E= QGMJ ;MJJ=FL HJ=K=L  J=?9J<D=KK G> O@=L@=J GJ FGL AK @9K :==F EG<AY=<  :Q
selecting the Edit Preset Name:MLLGFLG:JAF?MH L@=GF K;J==FC=Q:G9J< 2QH=AFL@=F=OF9E= 
K=D=;LU-)V 9F<K=D=;LSave Preset. The new preset will now appear in the list.

S '>QGMJ!MJJ=FL.J=K=L@9K:==FEG<AY=< QGM9DKG@9N=L@=GHLAGF LGOJAL=GN=JL@==PAKLAF?HJ=K=L


without renaming it by selecting Save Preset.

Main 1 Menu
2@=+9AFE=FM ;GFL9AFK L@=;GFLJGDKLGK=LL@=GMLHMLD=N=DG>=9;@+GFALGJ-MLHML =F9:D=GJ<AK9:D=
9FQ 9<BMKL9:D= H9J9E=L=JKG> =9;@ GMLHML 9<BMKLL@=E9KL=J ?9AF D=N=D 9<BMKLL@=D=>L 9F< JA?@LD=N=DK
AF<ANA<M9DDQ  KGDG 9F AF<ANA<M9D ;@9FF=D  9F< K=L 9 @A?@ H9KK YDL=J >J=IM=F;Q >GJ :GL@ L@=D=>L 9F<JA?@L
channels.

S The Volume slider is a duplicate of the control found on the top of the Home screen and controls
the output level to the speaker or headphone output.

S The Bypass ;GFLJGD =F9:D=K GJ <AK9:D=K L@= H9J9E=LJA; #/  DGM<F=KK ;GFLGMJK  9F< @A?@ H9KK
YDL=JK

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Chapter 17 Monitor Output Menu

S The Lock ;GFLJGD 9DDGOKQGM LG UDG;C <GOFV9DDG> L@=K=LLAF?K AF;DM<AF?L@=H9L;@ HGAFLK9F<L@=
K@GJL;ML K=LLAF?K KM;@ 9K NGDME= ;GFLJGDK  9L L@= LGH G> L@= MK=J AFL=J>9;=  5@=F DG;C=<  L@=
;GFLJGDKOADD9HH=9J ?J9Q=<GML 2@AKAK=KH=;A9DDQMK=>MDO@=FL@=U$GDDGOV;GFLJGD AK=F9:D=< 9KAL
prevents the selected patch point from being accidentally changed by someone connected via a
remote client.

J Imagine the surprise - not to mention confusion - this would cause the talent if, say, the Speaker
Output, which normally feeds the studio monitors with the low latency Studio output, got
BF8C2743>E4AC>C74 B86=0;=3F78;4F4OA4>=C74BD1942C;4CDB6>>=A42>A30BBC0C8=6
we do not endorse the idea of deliberately confusing the talent in this manner. We’re just saying
8C 2>D;3 022834=C0;;H 70??4=K &5P280;;H F4 BCA>=6;H A42><<4=3 ;>2:8=6 3>F= 0=H <>=8C>A
output put in active use.

S 2@=+GFALGJ -MLHML K=;LAGFK =9;@ ;GFL9AF .JGL=;LAGF *AEAL=JK 9 MK=>MD >=9LMJ= O@=F H=J>GJEAF?
KH=9C=J ;9DA:J9LAGFK  O@A;@ 9J= G>L=F H=J>GJE=< 9L @A?@=J L@9F FGJE9D NGDME= D=N=DK 9F< ;9F
AFNGDN=J9<A;9D9EGMFLKG>H9J9E=LJA; =IM9DAR9LAGFAFL@=HMJKMALG>9Z9L>J=IM=F;QJ=KHGFK= 5@=F
L@=DAEAL=JK9J=9;LAN= GJ9F?=:9JKAF L@=;GJJ=KHGF<AF?NGDME=;GFLJGDKOADD9HH=9J AF<A;9LAF?L@9L
the master gain should be reduced. The Master Gain ;GFLJGD 9<BMKLK L@= GMLHML D=N=D G> =9;@
+GFALGJ -MLHML K=;LAGF J=D9LAN= LGL@= .JGL=;LAGF *AEAL=J 7GM E9Q 9DKG YF<L@9L AF L@=;GMJK=G>
;9DA:J9LAGF QGM@9N=E9<=KA?FAY;9FL;MLKLG9;@A=N=9 Z9LGMLHML 9F<F==<LGMK=L@AK;GFLJGDLG
raise the output level so that the calibrated and un-calibrated outputs match volume-wise when you
compare them by using the Bypass control.

S The Left Level and Right Level ;GFLJGDK 9DDGO QGM LG 9<BMKL L@= GMLHML ?9AF G> =9;@ ;@9FF=D
individually and act as a sort of “balance” control in situations where the left and right speakers are
not equally spaced from the monitor point.

S The Solo Left and Solo Right controls allow you to monitor only the left or only the right channel.

S The Left High Pass Filter and Right High Pass Filter ;GFLJGDK9DDGOQGMLGK=LL@=@A?@ H9KKYDL=J
;MLG>>HGAFLLG9NGA<GN=J <JANAF?KE9DDKH=9C=JK 5@=F;9DA:J9LAF?KE9DD=J:9KK K@QKH=9C=JK L@=J=
OADD;GE=9 HGAFLO@=J=QGM ;9F FGDGF?=J ;GEH=FK9L=>GJKM;@ 9 <=Y;A=F;Q :Q #/ AF? 9F<ALAK
more practical to simply not try and pass those frequencies at all. That point will be clear on the
029F<AK=PHD9AF=<AFEGJ=<=L9ADAFL@=1H=9C=J!9DA:J9LAGFK=;LAGF

S The Pink Noise Left and Pink Noise Right controls turn the pink noise generator in each channel
on or off.

Main 2 Menu
2@=+9AF+=FM ;GFL9AFKL@=;GFLJGDKLGK=LL@=GMLHMLD=N=DG>=9;@ +GFALGJ -MLHML 9<BMKLL@=E9KL=J
?9AF D=N=D  <=L=JEAF=O@=L@=J L@=D=>L9F<JA?@L;@9FF=DK9J=9<BMKL=< LG?=L@=J 9K 9 U;GEEGFVH9AJ >GJ
:GL@L@=H9J9E=LJA; #/ 9F<L@="=D9Q>MF;LAGFK AFN=JLL@=HGD9JALQG>=9;@;@9FF=D K=LL@=GN=J9DD<=D9Q
LAE=9F<AF<ANA<M9D;@9FF=D<=D9Q 9F<9<BMKLL@= 9KK!DAHH=J9F<*AEAL=J2@J=K@GD<K>GJ=9;@;@9FF=D

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Chapter 17 Monitor Output Menu

S The Volume and Master Gain;GFLJGDK 9J=<MHDA;9L=K G>L@GK=>GMF<AF L@=+9AF E=FM  :ML9J=
found here as well for convenience.

S 5@=F =F9:D=<  L@=Common L/R EQ control “couples” the left and right channels together in the
H9J9E=LJA; =IM9DAR=J KG L@9L9FQ ;@9F?=K E9C=LGL@=D=>L ;@9FF=D OADD9DKG:=E9<=AF L@=JA?@L 
=DAEAF9LAF?L@=F==<LGE9C=L@=K9E=9<BMKLE=FLKLOA;= "AK9:DAF?L@AK;GFLJGD9DDGOK QGMLG#/
L@=D=>L9F<JA?@L;@9FF=DK <A>>=J=FLDQ 2@AK;9F :=MK=>MDA> >GJ AFKL9F;= GF=KH=9C=J AK HD9;=<AF
L@=;GJF=J G>9JGGEO@AD=L@=GL@=JAK FGL J=KMDLAF?AF 9 <A>>=J=FL:9KKJ=KHGFK=9LL@=EGFALGJAF?
point.

S The Delay All control allows you to delay the audio output of the Speaker and Headphone outputs.

S The Delay Left and Delay Right controls provide a means by which to delay one channel
independently of the other.

S The Invert Left and Invert Right controls let you swap the polarity of each channel. The ability to
do so in one channel or the other can be useful if you discover that one of the speakers has been
wired out of phase and it is not practical or convenient to physically switch the positive and negative
wires. Being able to do so to both channels simultaneously can come in handy if you are in a
situation where both channels have gotten out of phase at some point in the studio wiring.

S The Bass Limiter Threshold controls for the Left and Right channels set the threshold of the bass
limiters. Keep in mind that these controls affect only the monitor output audio and have no effect on
any of the on-air processing cores, but they are very useful when pushing higher volumes and more
bass through very small speakers.

S The Limiter Threshold controls for the Left and Right channels set the threshold of the Protection
Limiters in each Monitor Output section and operate in the same manner as their counterpart in the
&" 9F< GL@=J FGF $+  .JG;=KKAF? ;GJ=K  K OAL@ L@= 9KK !DAH  2@J=K@GD< ;GFLJGDK  only the
monitor output audio is affected.

Loudness 1 and Loudness 2 Menus


2@= *GM<F=KK  9F< *GM<F=KK  E=FMK 9DDGO QGM LG 9MLGE9LA;9DDQ ;@9F?= L@= =IM9DAR9LAGF G> =9;@
monitor output depending upon the volume level.

120
Chapter 17 Monitor Output Menu

1H=9C=J ;9DA:J9LAGF O@A;@ AK;GN=J=<AF ?J=9L=J<=L9AD D9L=J AF L@AKE9FM9D AKFGJE9DDQ <GF=9LJ=D9LAN=DQ
high volume levels in order to provide adequate gain into the mic to overcome room noise. Normal
listening levels may be substantially lower. While the EQ curve of the output of the speakers technically
J=E9AFKL@=K9E= L@=O9QGMJ =9JK H=J;=AN=<A>>=J=FL>J=IM=F;A=K9L DGO=J KGMF<D=N=DK OADD;9MK=L@=
9M<AG LG KGMF< <A>>=J=FL  1H=;AY;9DDQ  DGO=J 9F< @A?@=J >J=IM=F;A=K OADD KGMF< KG>L=J L@9F EA< J9F?=
frequencies.

"G FGL := 9D9JE=<A>QGM YF< QGM F==<LG 9<< K=N=J9D <=;A:=DK G>DGO >J=IM=F;Q :GGKL9L 9 N=JQ DGO
frequency and a width of 3.0 octaves or so) in order for the bass to sound balanced at lower volumes. The
K9E= AK LJM= >GJ @A?@=J >J=IM=F;A=K  :ML FGJE9DDQ 9 <  GJ LOG AK KM>Y;A=FL H=J@9HK 9L 9 N=JQ @A?@
frequency with a width of 2.0 octaves or so).

S The Frequency Width 9F<Gain sliders operate in the same manner as their counterparts in other
K=;LAGFKG>L@=-EFA9 AFO@A;@9H9J9E=LJA;=IM9DAR=JAKG>>=J=< 

S The Band MinKDA<=JK=LKL@=HGAFL9LO@A;@9FQ=IM9DAR9LAGF=KL9:DAK@=<:QL@=$J=IM=F;Q 5A<L@ 


and Gain sliders are begins to take place.

S The Band Max KDA<=JK=LKL@=HGAFL9LO@A;@L@=E9PAEME9EGMFLG>=IM9DAR9LAGFAKJ=9;@=<

'>L@=%9AF KDA<=JAKK=L LG< 9F<L@= 9F<+AF 9F< 9F<+9PKDA<=JK 9J=K=LLGL@=K9E=N9DM= L@=


=IM9DAR=JKAF L@=*GM<F=KK9F<*GM<F=KKE=FMK;9F :=MK=<9K9<<ALAGF9D UKL9LA;V #/ :9F<KA> >GJ
O@9L=N=JJ=9KGF EGJ=:9F<K:=QGF<L@GK=G>>=J=<AFL@=+9AF9F<+9AFK=LLAF?9J=F==<=<

Left EQ1, Left EQ2, Right EQ1, and Right EQ2 Menus
2@=*=>L#/ *=>L#/ 0A?@L#/ 9F<0A?@L#/E=FMK=9;@HJGNA<=KAP:9F<KG>>MDDQH9J9E=LJA;
=IM9DAR9LAGF>GJ=9;@+GFALGJ-MLHML 

121
Chapter 17 Monitor Output Menu

S The Frequency Width 9F<Gain sliders operate in the same manner as their counterparts in other
K=;LAGFKG>L@=-EFA9 AFO@A;@9H9J9E=LJA;=IM9DAR=JAKG>>=J=<

S The Copy control places the settings from either the Left EQ 1 or Right EQ 1 section onto a
“clipboard” so that they can be shared in the opposite channel EQ by using the Paste control. This
is especially handy if your left and right speakers require nearly - but not quite - identical
=IM9DAR9LAGF 

1H=;AY; AFKLJM;LAGFK >GJ @GO LG MK= L@=K= ;GFLJGDK LG ;9DA:J9L= QGMJ KH=9C=JK 9J= G>>=J=< D9L=J AF L@AK
manual.

122
Chapter 18 System Menu

Chapter 18
System Menu
Whatever control you are looking for
that is not directly related to processing
is probably in here.

123
Chapter 18 System Menu

The System Menu

2@=1QKL=E+=FM;GFL9AFKKM: E=FMKL@9LHJGNA<=KL9LMKAF>GJE9LAGF9:GMLL@=-EFA9 ALK=D> 9M<AG'- 


9F< J=EGL= ;GFF=;LAGFK  'L AK 9DKG O@=J=@A?@ D=N=D U?DG:9DVK=LLAF?K KM;@ 9K L@=LAE=9F< <9L= AFHML 
GMLHML HJ=K=LK;@=<MDAF? 9F<%.';GFY?MJ9LAGF9J=K=L 'L9DKG;GFL9AFKL@=E=FMKL@9L<=L=JEAF=O@A;@
HJG;=KKAF? ;GJ=K 9F< KLJ=9EAF? =F;G<=JK 9J= =F9:D=<  O@=J= &22. 9;;=KK 9F< '. AF>GJE9LAGF AK
=FL=J=< 9F<O@=J=K=LLAF?K>GJL@=YD=J=;GJ<=J9J=E9<=

System Status Menu


2@=1QKL=E 1L9LMK E=FM AK<ANA<=<AFLGL@J==K=;LAGFKT1QKL=E 'F>GJE9LAGF ,=LOGJC 'F>GJE9LAGF 9F<
Audio I/O Status.

The System Information HGJLAGF K@GOK AF>GJE9LAGF 9:GML -EFA9 XK GH=J9LAGF  AF;DM<AF? !.3 DG9< 
9N9AD9:D=0+ HGO=JKMHHDQ@=9DL@ MHLAE= 9F<N9JAGMKKG>LO9J= YJEO9J= 9F<@9J<O9J=N=JKAGFK 

124
Chapter 18 System Menu

The Network Information K=;LAGF HJGNA<=KAF>GJE9LAGF AF;DM<AF?L@=@GKL F9E= '. 9<<J=KK 9F<+!
9<<J=KKG>L@=MFAL  'L9DKGAF<A;9L=K@GOE9FQ MK=JK 9J=J=EGL=DQ;GFF=;L=< L@=J=EGL=HGJL FME:=J 
and the security level of the current user.

The Audio I/O Status section shows the current system sample rate as well as detailed information about
9M<AGAFHML9F<GMLHML;GFY?MJ9LAGFK

125
Chapter 18 System Menu

I/O Options Menu


2@='- -HLAGFK E=FM @9K N9JAGMK KM: E=FMK  AF;DM<AF?*G9< .J=K=L  19N=.J=K=L  'FHML GJ EMDLAHD=
AFHMLK <=H=F<AF? MHGF ;GFY?MJ9LAGF  1GMJ;= <BMKLE=FL  "AN=JKALQ "=D9Q  1AD=F;= "=L=;LAGF  +9AF
-MLHMLK 9F<$+-HLAGFK 

Load Preset and Save Preset Menus


DD'-K=LLAF?KAFL@='FHML 1GMJ;=<BMKLE=FL "AN=JKALQ"=D9Q 1AD=F;="=L=;LAGF +9AF-MLHMLK 9F<$+
-HLAGFK;9F:=K9N=<LG9F'-HJ=K=LYD= 2@AKE9C=KALN=JQ=9KQLGJ=LMJFLG9CFGOF?GG<
;GFY?MJ9LAGFA>QGME9C=9;@9F?=LGGF=G>L@=K=K=LLAF?K9F<F==<9IMA;CO9QLGU?=L:9;C@GE=VGJA>
you want to clone settings to transfer to another Omnia.9.

Input 1/2/3 Menus


2@='FHML-HLAGFKE=FMK9J=O@=J=QGM ;@GGK=O@A;@ H@QKA;9D J=9J H9F=D AFHMLF9DG?  +9AF "A?AL9D 
#10=>=J=F;= MP"A?AL9D >==<K=9;@G>-EFA9 XK9M<AGAFHMLH9L@K

126
Chapter 18 System Menu

S The Primary Source drop-down menu determines the audio source of each input.

S 'F L@= =N=FLQGM DGK=9M<AG>JGE L@=HJAE9JQ KGMJ;= QGM E9QMK=L@=Secondary Input Source
drop-down menu to select audio from an alternate source.

S The Input Preference ;GFLJGD <=L=JEAF=K O@=L@=J GJ FGL -EFA9  C==HK L@=;MJJ=FL  K=;GF<9JQ
audio source on the air after audio returns to the primary input source or switches back to the
primary source.

S The Studio Source drop-down menu allows the low-latency studio processing core to be fed
AF<=H=F<=FLDQ 9 MK=>MD>=9LMJ=>GJKL9LAGFKL@9LMLADAR=9HJG>9FALQ<=D9QAFL@=AJ9AJ;@9AF9F<F==<9
pre-delay feed for talent monitoring.

S 5@=F =F9:D=< L@=Clip Warning ;GFLJGDOADD ;9MK= L@='FHMLE=L=JK LGZ9K@ J=<O@=F L@=9M<AG
@ALK >MDD K;9D=  'F 9 FGJE9D KLM<AG =FNAJGFE=FL  !DAH 59JFAF? K@GMD< := LMJF=< GF LG C==H L@=
GH=J9LGJ>JGEGN=JDG9<AF?-EFA9 XKAFHML &GO=N=J A>QGM9J=AF 9L=KL=FNAJGFE=FL9F<>==<AF?9
!" HD9Q=J <AJ=;LDQ AFLG GF= G>L@=<A?AL9D AFHMLK QGM E9Q OAK@ LG LMJF L@AK ;GFLJGD G>> 9K ;DAHHAF?
present on the CD itself may trigger the Clip Warning.

S The High Pass Filter <JGH <GOF E=FM 9DDGOK QGM LG ;GEHD=L=DQ <AK9:D= L@= YDL=J GJ K=L ALK
>J=IM=F;QLG QGMJ ;@GA;= G>          GJ &R  2@=      9F<&R
YDL=JK 9J= =PLJ=E=DQ K@9JH  ;GEHD=L=DQ =DAEAF9L= @ME 9F< JME:D=  9F<9J=MK=>MD >GJ 9F 9DD L9DC
>GJE9LGJ9 KL9LAGF L@9LKLADD HD9QK DAN=NAFQD 2@=<=>9MDL K=LLAF?AK &R 'LAKOGJL@ FGLAF?L@9LL@=
HPF is phase linear.

S The Low Pass Filter <JGH <GOF E=FM 9DDGOK QGM LG ;GEHD=L=DQ <AK9:D= L@= YDL=J GJ K=L ALK
>J=IM=F;QLG           GJ &R 

Source Adjustment Menu


The Source Adjustment menu ;GFL9AFKL@=;GFLJGDKLGK=LL@=AFHML?9AF AFN=JLL@=HGD9JALQG>L@=AFHML
9M<AG 9F<K=LL@=AFHMLEG<=AF<=H=F<=FLDQ>GJL@=F9DG? +9AF"A?AL9D #10=>=J=F;= 9F<MP"A?AL9D
physical inputs.

127
Chapter 18 System Menu

S The Input Gain;GFLJGD9DDGOKQGMLG9<BMKL9 N9JA9:D=?9AF KL9?=9>L=JL@=;DAH <=L=;LGJ9F<;9F :=


used to boost levels to meet Omnia.9’s reference input level as indicated by a green color on the
AFHMLE=L=JK OAL@9F9<BMKLE=FLJ9F?=G>< 

S The Invert ;GFLJGD 9DDGOK QGM LG KO9H L@= HGD9JALQ G> GFDQ L@= D=>L ;@9FF=D AFHML  GFDQ L@= JA?@L
;@9FF=DAFHML GJ:GL@L@=D=>L9F<JA?@L;@9FF=DKKAEMDL9F=GMKDQ 

S The Mode;GFLJGDG>>=JKYN=;GE:AF9LAGFKLG<=L=JEAF=@GOL@=AFHML9M<AGAK>=<AFLG-EFA9  AF


terms of left and right channels.

S L/R sends left channel input audio to the left channel and right channel input audio to the right
channel (default setting).
S R/L sends left channel input audio to the right channel and right channel input audio to the left
channel.
S L+R sends both right- and left-channel input audio to both the left and right channels.
S L sends only left-channel input audio to both the left and right channels.
S R sends only right-channel input audio to both the left and right channels.

Diversity Delay Menu


The amount of delay introduced to the FM analog signal in order to match the corresponding HD-1 audio
AKK=LOAL@AFL@AKE=FMOAL@L@=$+"AN=JKALQ"=D9QKDA<=J J9F?AF?:=LO==F9F< EK 1=LLAF?L@AK
control properly (and monitoring your FM and HD-1 signals regularly) will ensure as smooth a transition
as possible between the analog and digital signals for listeners with HD receivers.

Silence Detection Menu


KHJ=NAGMKDQAF<A;9L=< -EFA9 ;9FKOAL;@GN=JLG9MK=J <=L=JEAF=<K=;GF<9JQAFHMLKGMJ;=O@=F
audio from the primary source is interrupted.

128
Chapter 18 System Menu

S The Silence Detect control determines how long Omnia.9 will wait before switching over to the
secondary input source. It also determines how long the unit will wait before switching back to the
.JAE9JQKGMJ;=A>L@='FHML.J=>=J=F;=;GFLJGDAFL@='FHML'--HLAGFKE=FMAKK=LLG!MJJ=FL

S '> L@= 'FHML .J=>=J=F;= ;GFLJGD AF L@= 'FHML  '- -HLAGFK E=FM AK K=L LG .JAE9JQ  L@= Program
Detect ;GFLJGD 9<BMKLK @GO DGF? L@= MFAL OADD O9AL GF;= AL @9K <=L=JEAF=< L@9L 9M<AG @9K :==F
J=KLGJ=< LG L@= HJAE9JQ AFHML  '> L@= 'FHML .J=>=J=F;= ;GFLJGD AK K=L LG !MJJ=FL  L@AK ;GFLJGD OADD
determine how long it waits to return to the primary input if audio is lost on the secondary input.

Main Outputs Menu


The Main Outputs Menu determines which audio source is present on each of the rear-panel
;GFF=;LAGFKAF;DM<AF?+9AF$+-ML +9AF$+-ML MP-ML 9F<F9DG?-ML9F<HJGNA<=KGMLHMLD=N=D
9<BMKLE=FLK>GJ=9;@ 

It also controls the source audio for the AES Main FM Out 1 and Out 2 outputs and enables the use of the
#1+9AF$+-ML 9F<-ML9K-EFA9"AJ=;LKGMJ;=K L@=KQKL=EBGAFLDQ;J=9L=<:Q,9ML=D9F<-EFA9
O@A;@<A?AL9DDQLJ9FK>=JKL@=;GEHGKAL=KA?F9D>JGEL@=HJG;=KKGJ<AJ=;LDQLGL@==P;AL=J

S The Main FM Out 1, Main FM Out 2, Aux Out, and Analog Out drop-down controls offer a choice
G> $+ HJ= =EH@9KAR=< GJ $+ <= =EH@9KAR=< 9M<AG  9M<AG >JGE L@= &"   &"   9F< &" 

129
Chapter 18 System Menu

HJG;=KKAF? ;GJ=K <=H=F<AF? MHGF ;GFY?MJ9LAGF  9F< 9M<AG >JGE L@= &=9<H@GF=  1H=9C=J  9F<
MPEGFALGJGMLHMLK 

J Note: $44<?70B8I43#
)8B20=54430BC4A4>64=4A0C>AF7827?A>E834B?A44<?70B8B1DC
this scenario does have the potential to cause overshoots which could result in a slight loss of
;>D3=4BB +74&<=80 B7>D;314C74&%#/34E824?A>E838=6C74$'A4<?70B8B =H?A4
4<?70B8B8=C74$G28C4A
+A0=B<8CC4AB7>D;31434540C43

S The corresponding LevelKDA<=JK9<BMKLL@=GMLHMLD=N=DK 

S The AES FM Out 1 and Out 2 drop-down controls set the source audio for the Omnia Direct outputs
9F<AF;DM<=*09M<AG +.6 +.6 GJ:GL@+.69F<

FM Options Menu
The FM Options Menu contains controls related to the composite and L/R output sections. Included here
9J= 9<BMKLE=FLK 9F< K=LLAF?K >GJ L@= +.6 .GO=J *AEAL  .ADGL *=N=D  MLG .ADGL  +.6 9F< *0 -MLHML
9F<OA<L@  +.6 9F< *0  -MLHML *=N=DK  1L=J=G +G<=  0$ 9F<OA<L@ !GFLJGDD=J  *0 !G<=; 19>=LQ
K=LLAF?K 9F<L@=:MADL AF+.62=KL%=F=J9LGJ

S The MPX Power Limit slider is used to set the MPX power as appropriate for particular countries
when MPX Power is enabled.

S The Pilot Level ;GFLJGD9DDGOKQGMLGK=LL@=D=N=DG>HADGLAFB=;LAGFGN=J9J9F?=G> LG AF GF=


tenth dB increments.

S Auto Pilot is a feature that automatically turns off the pilot when mono audio is detected which can
@=DH J=<M;=EMDLAH9L@<AKLGJLAGF9F<=DAEAF9L=KL=J=GFGAK=O@=FALAK EGKLFGLA;=9:D= KM;@9K GF
dry voice.

S The MPX Output Bandwidth control gives you the choice of setting the bandwidth of the
;GEHGKAL=GMLHMLKLG=AL@=J C&RGJC&R  C&RAK>MDDQ;GEH9LA:D=OAL@9DDJ=;=AN=JK 9F<AK
the recommended setting. The L/R Output Bandwidth slider performs the same function for the
*=>L0A?@LGMLHMLK:MLOAL@9;@GA;=G>    GJ C&R

 Note: 5 H>D 0A4DB8=60 :I*+#H>DF8;; =443C> B4C C74 #


) &DC?DC0=3F83C7 C> >A
 C>?A4E4=C>E4A<>3D;0C8>=

130
Chapter 18 System Menu

S The Stereo Mode control allows you to choose between single-sideband (SSB) or dual-sideband
(DSB) operation.

S Enabling the RF Bandwidth Control can tightly control the RF bandwidth to reduce multipath
problems. The Strength slider determines the amount of control applied.

=;9MK=EMDLAH9L@AKKM=K9J=KGKH=;AY;LGH9JLA;MD9JDG;9LAGFK L@=GFDQHJ9;LA;9DO9QLG<=L=JEAF=
the best setting for your station is by trial-and-error while driving to locations that are known to be
HJG:D=E9LA; 5AL@ 9 5A $A @GLKHGL9F<9 D9HLGHGJL9:D=L JMFFAF?-EFA9 XK J=EGL=KG>LO9J=  ALAK
=FLAJ=DQHGKKA:D=LGE9C=L@=K=9<BMKLE=FLKGFL@=ZQ9F<AFJ=9DLAE=

S Note: +74B86=8P20=24>5C78B540CDA4F0AA0=CB034C08;434G?;0=0C8>= 420DB424AC08=B>D=3B


BD270BBC4A4><82O43?80=>C74PABC54F=>C4B>5M$H <<>AC0;N1HE0=4B24=24B4AE4B0B0
6>>34G0<?;420=20DB44G24BB8E4BC4A4>A424?C8>=?A>1;4<B 

#>>:8=6 0C C74 $'. B?42CAD< >5 C78B B>=6 8= ?0AC82D;0A H>D F8;; =>C824 CF> E4AH C0;; 7867
5A4@D4=2H?40:B &=40C  I0=30=>C74A0C  I +74>A868=0; 0D38>7030?80=>
=>C4 0C  I A42>A343 F8C7 BC4A4> <82A>?7>=4B 0=3 70B E4AH ;8CC;4 ?70B4 2>AA4;0C8>=
14CF44= C74 ;45C 0=3 A867C 270==4;B  +7DB 3D4 C> C74 $ BC4A4> BHBC4< F7827 0<?;8CD34
<>3D;0C4BC74#45C)867C38554A4=24B86=0;1H IC74B4CF>78675A4@D4=2H?40:BA4BD;C 

/>D <0H 0;B>=>C824C70C C74H 0A4 B4E4A0; 3B BCA>=64A C70=C74?8;>C C>=41DC0C CF824 C74
5A4@D4=2H -74=C78BB86=0; 64CB5A4@D4=2H <>3D;0C430BH>DA4G28C4AF8;; 3>C74B4E4AHC0;;
7867 5A4@D4=2H ?40:B F8;; 20DB4 E4AH F834 B83410=3B 8=H>DA ) 20AA84A ?>C4=C80;;H 20DB8=6
multipath reception problems, which would be especially audible here due to the sparse audio
content.

+7420A45D;>1B4AE4A<0HA42>6=8I4C70C0;C7>D67***8=6;4*83410=3=>A<0;;HA43D24B)
10=3F83C78CF8;;=>C74;?8=C78B20B4  =**F4;>B4C74 I?40:1DCF4BC8;;70E4C74
 I?40:0=3F8C7**8CB3BCA>=64AC70=145>A4

&=4B>;DC8>=F>D;314C>BC0C820;;HA43D24C74#)B86=0;0BB><4?A>24BB>AB3> >F4E4AC78B
narrows the entire stereo image no matter what the audio content and is the equivalent of
B7>>C8=60QHF8C7020==>= 

=BC403 &<=80 OB ) 0=3F83C7 >=CA>;;4A F7827 8B 02CD0;;H 0 ;8<8C4A F8C7 C7>DB0=3B >5
10=3B0;;>FB8CC>0CC4=D0C4>=;HC745A4@D4=284BC70C20DB4?A>1;4<BF8C7>DC05542C8=6C74A4BC
>5C74BC4A4>8<064 +78B <40=BC867C2>=CA>; >E4A H>DA ) 10=3F83C7F8C7>DC 0D381;4;>BB>5
stereo separation!

S The MPX1 Output and MPX2 Output Level sliders provide very precise control of the composite
output levels of each MPX output section with a range of -30 to 0db in one-hundredth dB
increments.

S The MPX1 Mode and MPX2 Mode controls determine which signals are fed to the composite
GMLHMLK !@GA;=K AF;DM<=+.6 -MLHML *0-MLHML .J= =EH@9KAR=<'FHML +.6 'FHML 9F<+.6
'FHML 2@=K=D9KLGHLAGFK9DDGOQGM LGH9KK-EFA9 XK=PL=JF9D+.6 AFHMLK<AJ=;LDQL@JGM?@LGL@=
Omnia.9 on the air. You can compare off-air audio using calibrated speakers and the speaker
output (or client audio output) without affecting on-air audio.

S The L/R Codec Safety drop-down control can be used to limit high-frequency headroom of the L/R
GMLHML 9 :=F=YLO@=FMKAF?9 ;GEHJ=KK=<<A?AL9D12*9F<DGO=J:ALJ9L=K9KALE9Q@=DH HJ=N=FL:AL
J9L=J=<M;LAGF AF<M;=<H=9C GN=JK@GGLK  1=LLAF?K 9J=->> *A?@L  +=<AME 9F<&=9NQ 7GM ;9F K==
L@==P9;L=>>=;LAL@9K:QDGGCAF?9LL@=GK;ADDGK;GH=K=LLG*0-MLHMLOAL@GN=JK9EHDAF?=F9:D=<

131
Chapter 18 System Menu

S The MPX Test Generator and L/R Test Generator are described in detail below.

MPX Test Tone Generator: Control Details and Suggested Applications


The MPX and L/R Test Tone Generator controls allows you choose from several key test tones which can
:=N=JQMK=>MD>GJL=KLAF?9F<HJGGYF?LJ9FKEAKKAGFH9L@;GEHGF=FLK

S SquareAK9&RKIM9J=O9N=MK=>MD>GJNAKM9DARAF?LADL 

S Quick SweepAK9 N=JQ>9KL  T &RKO==H OAL@ 9 ;DA;C :=>GJ==9;@KO==H <=KA?F=<LG
G>>=J9 NAKM9DJ=>=J=F;=9KLGL@=@A?@>J=IM=F;QH=J>GJE9F;=G>QGMJ12*GJ=P;AL=J '>QGMO=J=LG
;GFF=;L 9F GK;ADDGK;GH= LG 9 ;9DA:J9L=< LMF=J OAL@ +.6 GMLHML KM;@ 9K L@= =D9J 5AR9J<  >GJ
=P9EHD= L@AKAKL@=K@9H=QGMOGMD<K==A>QGMJ12*GJ=P;AL=J@9<9Z9L@A?@>J=IM=F;QJ=KHGFK=

FQ <=NA9LAGF >JGE 9 Z9L @A?@ >J=IM=F;Q J=KHGFK= E=9FK 9 DGKK G> DGM<F=KK 9F<GJ KL=J=G
separation.

S Sweep (MPX)AK9KDGODAF=9J>J=IM=F;QKO==H:=LO==F9F< &R 

S Log Sweep (MPX) is a logarithmic equivalent.

S 400Hz AK 9 >MDD 9EHDALM<= KAF= O9N= LG 9DDGO QGM LG K=L 9F =P9;L C&R <=NA9LAGF OAL@ 9 EG<
monitor.

S 0.5 – 5.0 and 0.5 – 30.0 9J= KM:KGFA; KO==HK L@9L 9DDGO QGM LG K==L@==PLJ=E= DGO >J=IM=F;Q
response of your air chain.

S 30HzAK9&RKAF=O9N= Certain exciters will go into protection mode if fed a full modulation sine
wave this low in frequency, so please be careful!

S 30 Hz Phase InvertHJG<M;=K9 &RKAF=O9N=O@A;@9:JMHLDQ;@9F?=KH@9K=LOA;=H=J K=;GF< 


2@AK L=KLLGF=9DDGOK QGM LGN=JA>Q "!;GMHDAF? G>-EFA9 K ;GEHGKAL=GMLHMLOAL@ 9F =PL=JF9D
GK;ADDGK;GH= 9KO=DD9K QGMJ =P;AL=J 9F<QGMJ EG<MD9LAGF EGFALGJ  +9FQ =P;AL=JK9F<=N=F EGJ=
EG<MD9LAGF EGFALGJK @9N= AF9;;MJ9L= DGO >J=IM=F;Q J=KHGFK=  O@A;@ OADD ;9MK= K=N=J= GN=J
EG<MD9LAGF GJ=JJGF=GMKDQ<AKHD9QK=N=J=GN=J EG<MD9LAGF A>L@=DGO >J=IM=F;A=K9:JMHLDQ;@9F?= 
KM;@9KAK;MKLGE9JQAFEMKA;L@9L;GFL9AFKCA;C<JMEKO@A;@EGKLKGF?K<G

132
Chapter 18 System Menu

S Bessel Null 31,187.6Hz9DDGOKQGMLGK=L=P9;L


 C&REG<MD9LAGFOAL@9 <AJ=;LG>> 9AJ KH=;LJME
9F9DQR=J 

-EFA9  HJGNA<=K=PLJ=E=DQLA?@LEG<MD9LAGF;GFLJGD 7GMJ EG<MD9LAGF EGFALGJXKE=L=JK@GMD<=KK=FLA9DDQ


KL9F<KLADD9LC&R 2@=;GEHGKAL=E=L=JAF-EFA9 OADDKL9F<KLADD9LC&RFGE9LL=JO@9L9FQ=PL=JF9D
=IMAHE=FLAK<GAF? '>AL<G=K FGL  lack of DC coupling AK 9 DAC=DQ;MDHJAL 2GL=KL >GJL@AK  >GDDGO L@=K=
steps:

S !GFF=;L 9F -K;ADDGK;GH=E9CAF?KMJ=ALAK"! ;GMHD=< FGL!;GMHD=<  LG-EFA9 K;GEHGKAL=


output.

S 1=D=;L&R <BMKLL@=GK;ADDGK;GH=AFHMLD=N=DLG9;;MJ9L=DQJ=9;@9H9JLA;MD9JK=LG>DAF=K

S 1=D=;L&R 4=JA>QL@9LL@=H=9CKJ=9;@L@=K9E=DAF=K9LL@==P9;LK9E=KHGL

S 1=D=;L &R.@9K='FN=JL 4=JA>QL@9LL@=H=9CKJ=9;@ L@=K9E=DAF=K9F<F=N=J GN=JK@GGL $GJ9


;GFLJGDK9EHD= K=LQGMJGK;ADDGK;GH=LG!;GMHDAF? 9F<O9L;@L@=O9N=>GJE:GMF;=

5=@9N=FGON=JAY=<L@9L-EFA9 K;GEHGKAL=GMLHMLAK=P9;LDQ9;;MJ9L= 7GME9Q9DKGLJQL@=GL@=JL=KL


tones as well as program audio.

&=J=AK9FGL@=JL=KL L@AKLAE=;@=;CAF?>GJGN=JK@GGLK

S !GFF=;L-EFA9 K;GEHGKAL=GMLHMLLGQGMJ=P;AL=J9F<DGGC9LQGMJEG<MD9LAGFEGFALGJ 

S 1=D=;L&R9F<9<BMKL>GJ=P9;LDQEG<MD9LAGF 

S 2@=FK=D=;L&R9F<N=JA>QL@9LQGM9J=J=9;@AF?L@=K9E=EG<MD9LAGFD=N=D

S $AF9DDQ K=D=;L&R.@9K='FN=JL 

7GM OADDDAC=DQK==KGE=GN=JK@GGL :MLA>QGMK==EGJ=L@9F9 H=J;=FLGJLOG L@=F=AL@=JQGMJ=P;AL=JGJ


STL) is causing the overshoots OR your modulation monitor is displaying overshoots that are not there. In
=PL=FKAN=Y=D<L=KLAF? L@AKHJG:D=E@9KHJGN=FLG:=EM;@EGJ=;GEEGF L@9F O==N=J L@GM?@L.D=9K=
FGL=L@9LL@AKHJG:D=E 9>>=;LK=N=JQHJG;=KKGJ :MLAL@9KBMKLF=N=J :==F9K=9KQLGHAFHGAFL9K ALAKFGO
due to the presence of Omnia.9’s built in signal generator.

The L/R Test Generator menu section has the same options (minus Bessel Null) but there are a couple
G><A>>=J=F;=KLGC==H AFEAF< 1H=;AY;9DDQ Sweep L/R is a slow linear frequency sweep between 30 and
 &R9F<Quick SweepAK9IMA;CKO==H:=LO==F  &R OAL@9;DA;C:=>GJ==9;@KO==H 

2@=;DA;C9DDGOKQGMLG9<BMKLL@=LJA?D=N=DG>QGMJGK;ADDGK;GH=LGKL9:ADAR=L@=<AKHD9Q /MA;C 1O==H ?G=K


9DDL@=O9QMHLG &RLG9DDGOQGMLGNAKM9DAR=L@=DGOH9KKYDL=JG>QGMJKL=J=G?=F=J9LGJ

<<ALAGF9DDQ 9DD*0 L=KLLGF=K9J=?=F=J9L=<before9FQ<= =EH@9KAKAFKA<=L@=-EFA9  9DDGOAF?QGMLG


verify performance of your stereo generator by connecting its output to one of Omnia.9's composite
AFHMLK 9F<;GEH9J=L@=GJQ9F<HJ9;LA;=GF LOGAFL=JF9D GK;ADDGK;GH=KKA<=:QKA<=:QMKAF?L@=*0 .J=
=EH@-MLHMLH9L;@HGAFL*=>L.J= =EH@9KAR=< OAL@L@=+.6'FHMLH9L;@HGAFL*=>L"= EG< 

&9NAF?9 H=J>=;LDQ 9;;MJ9L=J=KMDL NAKA:DQ DGGCAF?L@= K9E=  AK9:KGDML=DQ9;@A=N9:D=  KGHD=9K=<GFGL


9;;=HL9FQL@AF?D=KK 9K9FQAF9;;MJ9;A=KOADD;GKLQGM:GL@DGM<F=KK9F<9M<AGIM9DALQ

133
Chapter 18 System Menu

File Recorder Menu


-EFA9 >=9LMJ=KL@J==:MADL AF YD=J=;GJ<=JKL@9L9DDGOQGMLG;9HLMJ=9M<AG>JGEN9JAGMKHGAFLKOAL@AFL@=
HJG;=KKAF?;@9AFGFLG931 Z9K@<JAN=GJ@9J<<JAN= 

=>GJ=QGM:=?AF K=D=;LL@=U,9E=VAFHMLY=D<9F<9KKA?F 9 F9E=LGQGMJF=OYD= 2@=F;@GGK=O@A;@


HJG;=KKAF?;GJ=$+ &"  &"  &"  1LJ=9E 1LJ=9E GJ1LJ=9E QGMOGMD<DAC=LGJ=;GJ< 
,=PL HA;C9H9L;@HGAFL>JGEOAL@AFL@=HJG;=KKAF?;@9AF $AF9DDQ =F9:D=U0=;VLGKL9JLJ=;GJ<AF?

S The Vox;GFLJGD O@=F =F9:D=<  H9MK=KJ=;GJ<AF?O@=F FG9M<AGAK HJ=K=FL9F<@9K 9 K=D=;L9:D=


timeout setting.

S The GainKDA<=J;GFLJGDKL@=AFHMLD=N=DAFLGL@=J=;GJ<=J '> >GJ=P9EHD= QGM9J=J=;GJ<AF?>JGEL@=


+.6H9L;@HGAFLOAL@ L@AK;GFLJGDK=L9L < QGMOADD?=L9 < H=9C +.6YD= KMAL9:D=>GJMK=AF9
EG<MD9LAGFEGFALGJAF?KG>LO9J=HJG?J9EKM;@9K+HP2GGD 

S The Minimize File Size ;GFLJGD9MLGE9LA;9DDQ9<BMKLK L@=J=;GJ<AF?J=KGDMLAGF LGE9L;@ L@=9;LM9D


FGAK=ZGGJ G>L@=9M<AG 9DDGOAF?QGMLGJ=;GJ<9 >MDD @GMJG>G>> 9AJ +.6 9M<AGAF9YD=KAR=G>GFDQ
E: 2@=J=KMDLAF?$*!YD=;9FKLADD:=J=9<:Q9FQHJG?J9EL@9LKMHHGJLK$*!

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Chapter 18 System Menu

If you are recording directly from the Omnia.9 unit or on a remote computer with a high speed connection
LG-EFA9   L@= 1GMJ;= OAF<GO OADD K@GO U.!+ VAF<A;9LAF? L@= J=;GJ<AF? OADD := MF;GEHJ=KK=<.!+
KGMJ;=<9L9 '>QGM@9N=9KDGO=JJ=EGL=;GFF=;LAGF L@=OAF<GOOADDK@GOU4GJ:AKVAF<A;9LAF?L@9LQGMOADD
:=J=;GJ<AF?L@=<=;G<=<GMLHMLG>9DGKKQ;G<=; 'F =AL@=J;9K= L@=J=;GJ<=J 9DO9QKHJG<M;=K9 $*!
$J==*GKKD=KKM<AG!G<=; YD= 

7GM 9DKG@9N=L@=GHLAGF LGMK=-EFA9 XK2AE= 9K=<$AD=1HDALLAF?>=9LMJ= O@A;@ 9DDGOKQGM LGJ=;GJ<


YD=KG>9KH=;AY=<D=F?L@ EAFML=K  EAFML=K  @GMJ @GMJK @GMJK GJ @GMJK KALAKK9EHD=
9;;MJ9L= QGM;9F KHDA;=L@=YD=KLG?=L@=J9>L=JJ=;GJ<AF?A>QGM DAC= 2@=J=AKFGYD=DAEALKAR=GL@=JL@9F
L@=9EGMFLG>KH9;=GFQGMJ=PL=JF9D<JAN= KGYD=KHDALLAF?AKFGLJ=IMAJ=< GFDQ9FGHLAGF

Time/Date Menu
The Time/DateE=FM @9KL@J==KM: E=FMK>GJK=LLAF?-EFA9 XKAFL=JF9D;DG;C2AE=8GF= ,2. 9F<1=L
Clock Manually.

Time Zone Menu


The Time ZoneE=FM 9DDGOKQGM LG;@GGK=L@=HJGH=J LAE=RGF=>GJ QGMJH9JLA;MD9J ?=G?J9H@A;9D 9J=9 
"9QDA?@L19NAF?K2AE=AK9MLGE9LA;9DDQ9HHDA=<AF9HHDA;9:D=LAE=RGF=K

135
Chapter 18 System Menu

NTP Menu
The NTP E=FM ;GFL9AFK L@= 9<<J=KK=K >GJ YN= ,=LOGJC 2AE= .JGLG;GD K=JN=JK  5@=F =F9:D=<  NTP
SynchronizationOADDMK=GF=G>L@=K=K=JN=JKLGC==HL@=-EFA9 XK;DG;CKQF;@JGFAR=<

Set Clock Manually Menu


The Set Clock Manually menu contains the controls for manually setting the time and date.

S Selecting the Update Time or Update Date sliders will refresh the time displayed on the sliders.
3K=L@=1=L&GMJ 1=L+AFML= 1=L1=;GF< 1=L7=9J 1=L+GFL@ 9F<1=L"9QKDA<=JK LGJ=Z=;LL@=
;MJJ=FLLAE=9F<<9L= L@=F K=D=;LHHDQ2AE=GJHHDQ"9L=LGHMLL@=F=O N9DM=KQGMXN=K=LAFLG
effect.

136
Chapter 18 System Menu

Scheduling Menu
The SchedulingE=FM 9DDGOKQGMLGHJG?J9EMH LGLO=FLQ KAP <9Q 9F<LAE= <JAN=F=N=FLK AF;DM<AF?
KOAL;@AF?3F<G.J=K=LK>GJ=9;@AFHML ;@9F?AF?HJG;=KKAF?HJ=K=LK>GJL@=$+ 1LM<AG 9F<=9;@&"9F<
1LJ=9EAF?HJG;=KKAF?;GJ=K 9F<;GFLJGDDAF?L@=<JQNGA;=<=L=;LGJ>GJ=9;@;GJ= 

Info Menu
The Info+=FM <AKHD9QK=N=FLKL@9L9J=;MJJ=FLDQ9;LAN=KM;@9K # ) + - 9F<L@=EGKLJ=;=FLH9KL
event.

Event Menus (A-B, C-D, E-F, etc.)


Each Event Menu window simultaneously displays controls for two separate events. An event may be
K;@=<MD=<GF GF= K=N=J9D GJ 9DD <9QKG>L@=O==C :Q=F9:DAF?L@="9QG>5==C ;GFLJGD>GJ9 H9JLA;MD9J
day(s).

137
Chapter 18 System Menu

S The time at which the event occurs is determined by the Time (hours and minutes) and Second
(seconds) sliders.

S The Function ;GFLJGD K=D=;LK L@= ?=F=J9D =N=FL ;9L=?GJQ O@AD=L@=HMDD <GOF E=FM :=F=9L@ L@=
$MF;LAGF;GFLJGDAK;GFL=PL K=FKALAN=9F<HJGNA<=K9DAKLG>;@GA;=K9HHJGHJA9L=>GJL@=?=F=J9D=N=FL
;9L=?GJQ $GJ AFKL9F;= A>L@=$MF;LAGF;GFLJGDAKK=LLGU$+.JG;=KKAF?.J=K=L V9DAKLG>HJG;=KKAF?
presets will be displayed.

S -F;=L@=K=H9J9E=L=JK9J=K=L L@=Event Enable;GFLJGDTFGLKMJHJAKAF?DQT=F9:D=KL@9L=N=FLLG


G;;MJ9LL@=KH=;AY=<<9L=9F<LAE= 

S Note:4BDA4C>B4CC7430HC8<40=35D=2C8>=?0A0<4C4AB?A8>AC>4=01;8=60=4E4=C

S Clicking or tapping the Trigger Now:MLLGF=P=;ML=KL@==N=FLAEE=<A9L=DQ

2@=;MJJ=FL=N=FLJ=E9AFK9;LAN=9F<GFL@=9AJMFLADL@=F=PLK;@=<MD=<=N=FLG;;MJK '>GFDQGF==N=FLAK
K;@=<MD=<  L@GK= H9J9E=L=JK OADD J=E9AF 9;LAN= AF<=YFAL=DQ GJ MFLAD 9FGL@=J =N=FL AK 9<<=< LG L@=
schedule.

GPI Menu
The GPI E=FM ;GFL9AFK GFDQ GF= ;GFLJGD LG =F9:D= GJ <AK9:D= %.' >MF;LAGF9DALQ  5@=F =F9:D=<  L@=
>GDDGOAF? >MF;LAGFK ;9F := ;GFLJGDD=< 3F<G .J=K=L H=J HJG;=KKAF? ;GJ=  .JG;=KKAF? .J=K=L H=J
HJG;=KKAF? ;GJ=  9F< "JQ 4GA;= "=L=;LAGF H=J HJG;=KKAF? ;GJ=  'FHML 1GMJ;= K=D=;LAGF AK FGL Q=L
9N9AD9:D= :MLE9Q:=9<<=<AF9>MLMJ=KG>LO9J=MH<9L= 

138
Chapter 18 System Menu

GPI Enable
The GPI Enable control is used to turn GPI on or off. Please note that GPI must be disabled in order to
=<AL9F<;GFY?MJ=L@=AF<ANA<M9D%.'>MF;LAGFK

GPI Function A-D / E-H

S The Function control in each GPI channel - A through H - determines which available parameter is
affected when the input signal is received.

S The Lo and Hi ;GFLJGDKOGJC LG?=L@=JLG<=L=JEAF=L@=KH=;AY; 9;LAGF L@9LG;;MJKLGL@=H9J9E=L=J


selected by the Function control.

Pins 2 through 9 are GPI inputs 1 through 8. Pins 18 through 25 are ground.

'>9KQKL=E AKMKAF?J=D9QDG?A; 9;GFL9;L;DGKMJ=>JGE%.'LG?JGMF<AKU=F?9?=<V9F<9FGH=F;GFL9;LAK


“”not engaged”.

'>KMHHDA=<:Q94%.- 4AK%.'U=F?9?=<V9F<4AK%.'UFGL=F?9?=<V  4KA?F9DOADD9DKGOGJC

139
Chapter 18 System Menu

$GJ;GFLAFMGMK:=@9NAGJ MK=GF=%.'>GJL@=9;LAGF9K>GDDGOK

S LO - Setting 1
S HI - Setting 2

$GJEGE=FL9JQ:=@9NAGJ MK=LOG%.'XK>GJL@=9;LAGF9K>GDDGOK

S GPI 1 LO - Setting 1
S GPI 1 HI - No change
S GPI 2 LO - Setting 2
S GPI 2 HI - No change

DO9QKJ=E=E:=JLGJ= =F9:D=%.'9>L=JE9CAF?9FQ;@9F?=K

System Configuration Menu


The 'GAB3; =<L5E=FM ;GFL9AFK L@=;GFLJGDK LGK=D=;L9F AFL=JF9D K9EHD=J9L= <=L=JEAF=@GOE9FQ
HJG;=KKAF?;GJ=K9J=9N9AD9:D= @GOE9FQKLJ=9EAF?=F;G<=JKG>=9;@N9JA=LQ9J=9N9AD9:D= K=L9KQKL=E
H9KKOGJ< HGO=J;Q;D=GJK@ML<GOFL@=MFAL K=L9 <AKHD9QLAE=GML =KL9:DAK@9F '.UO@AL=DAKLV>GJ J=EGL=
&22. 9;;=KK 9KKA?F 9F'. 9<<J=KKLGL@=MFAL 9F<K=LMH 1,+. 7GM ;9F9DKG;@=;C L@=KG>LO9J=9F<
%3' N=JKAGFK  K9N=QGMJ ;MKLGE ;GFY?MJ9LAGFK LG 9 31 <JAN=  MH<9L=LG L@= D9L=KL KG>LO9J= N=JKAGFK 
9F< A>QGM HMJ;@9K=<9F-EFA9  OAL@GMLL@=9<<ALAGF9D&"9F<KLJ=9EAF?;9H9:ADALA=K MFDG;C 9<<ALAGF9D
HD and streaming cores via software key.

Sample Rate Menu


The Sample Rate E=FM D=LK QGM ;@GGK= L@= AFL=JF9D K9EHD= J9L= 9L O@A;@ -EFA9  OADD JMF  =AL@=J
 C&RGJC&R 2@=<=>9MDLJ9L=AK C&R  =KMJ=LGK=D=;L>>:G =<L5 to put the changes into
=>>=;L C==HAF?AFEAF<L@9L<GAF?KGOADD;9MK=9FAFL=JJMHLAGFLGHJG?J9E9M<AG9K-EFA9 J= KL9JLK

140
Chapter 18 System Menu

Processing Cores Menu


The Processing Cores E=FM 9DDGOK QGM LG ;@GGK= L@= LQH= 9F< FME:=J G> $+  &"  9F< KLJ=9EAF?
HJG;=KKAF?;GJ=K 9N9AD9:D=  =F9:D=+.6 .GO=J !GFLJGD >GJ '23 0 1  !GEHDA9F;=  9F< =F9:D= L@=
KLM<AGHJG;=KKAF?;GJ= L@=;GEHGKAL=AFHMLK 9F9<<ALAGF9D9MPADA9JQEGFALGJGMLHML

S The FM pull-down menu allows you to enable a processing core for the FM MPX (composite)
GMLHML *0GMLHML GJ:GL@ 

S The MPX Power Control control allows Omnia.9 to operate in compliance with ITU-R BS-412
regulations.

S The HD Cores menu lets you choose how many HD processing cores are available.

S The Streaming Cores menu allows you to choose how many streaming processing cores are
available.

S The Studio CoreE=FM =F9:D=KGJ<AK9:D=KL@=<=<A;9L=<KLM<AG;GJ= 9FAF<=H=F<=FLDGO D9L=F;Q


path especially suited for talent monitoring.

141
Chapter 18 System Menu

S The Aux Monitor Output AK 9 L@AJ< KH=9C=J ;GFLJGDD=J  KAEAD9J LG L@= 1H=9C=J 9F< &=9<H@GF=
-MLHMLK O@A;@ ;9F :=MK=<LG JGML=9M<AG LG9FGL@=J KLM<AGGJ 9J=9 G>L@=KL9LAGF  =;9MK= ALAK
>MDDQJGML9:D=9F<;9FHJGNA<=9M<AG>JGEE9FQ<A>>=J=FLH9L;@HGAFLKOAL@AF -EFA9  QGM ;9F9DKG
use it to feed audio to another processor.

S The Pre-emph Input ;GFLJGD AK KAEAD9J LG L@=+.6 AFHMLK  :ML AK HJGNA<=< O@=F L@= *0 GMLHML
=AL@=JZ9LGJHJ= =EH@9KAR=< G>9FGL@=J9M<AGHJG;=KKGJAK>=<AFLG-EFA9  

J Note: This input can receive audio from any of Omnia.9’s three digital inputs only, not the
0=0;>68=?DC0BC740=0;>68=?DC8B=>C2>D?;43 

Streaming Encoders Menu


The Streaming Encoders E=FM 9DDGOK QGM LG K=D=;L L@= E9PAEME FME:=J G> =9;@ LQH= G> =F;G<=J
9N9AD9:D=! +. 5+ +. 9F<4GJ:AK 

S Selecting the >>:G =<L5 button will places any changes you have made into effect. This will take
your station off the air and disconnect all streams for a few seconds.

Password Menu
The Password menu allows you to password protect your Omnia.9.

142
Chapter 18 System Menu

S Selecting the Enter Password Y=D< :JAF?K MH  L@= GF K;J==F C=Q:G9J< >GJ =FL=JAF? 9 KQKL=E
H9KKOGJ< O@A;@EMKL:==FL=J=<9?9AFAFL@=0=H=9L.9KKOGJ<Y=D<>GJN=JAY;9LAGF 

S 2GDG;C L@=>JGFLH9F=DLGM;@K;J==F K=D=;LL@=Menu button on the Home Screen and choose Lock
Front Panel  2G ;D=9J L@= H9KKOGJ<K  D=9N= :GL@ L@= Enter Password and Repeat Password
Y=D<K=EHLQ9F<K=D=;LClear Password.

S 2GMFDG;C L@= MFAL  =FL=J QGMJ H9KKOGJ<9F<K=D=;L Unlock  '> QGM >GJ?=L QGMJ H9KKOGJ< -EFA9
support can help you unlock your unit.

Power Menu
The Power E=FM HJGNA<=K9 E=9FK:Q O@A;@ LGJ=KL9JLGJ K@ML<GOF QGMJ -EFA9  9F<9<BMKLL@=>JGFL
panel display timeout.

S The Power Cycle GHLAGFK9>=DQK@MLK<GOFL@=MFAL9F<J=KL9JLKALT9CAFLG9;GEHML=JUJ=:GGL V

143
Chapter 18 System Menu

S The Safe Shutdown option properly and completely shuts down the unit. This function is available
GFDQ GF L@=>JGFLH9F=D FGLL@JGM?@L@=J=EGL=KG>LO9J= 9K9;;A<=FL9DDQHJ=KKAF?AL;GMD<J=KMDLAF
9FMFHD9FF=<NAKALLGL@=LJ9FKEALL=JKAL=

S The Display Timeout menu determines how long the front panel display remains on after it was
D9KLMK=< 'L;9F :=K=LLGKL9QGF >GJ EAFML=K @GMJ @GMJK GJ@GMJK 2@=<=>9MDLK=LLAF?
is 24 hours.

J Note: +78B 0??;84B >=;H C> D=8CB F8C7 B4A80; =D<14A  0=3 ;0C4A 0=3 8B =>C B7>F= 0B 0=
option on the earliest units regardless of software version.

IP Configuration Menu
The $=<L5C@/B7=< menu allows you to assign an IP address to the Omnia.9 and enter subnet mask
and gateway information for your network.

S The Use DHCP button allows your local router to assign an IP address to the unit.

S Selecting Apply puts any changes you have made to these parameters into effect after a few
seconds.

Outbound Connection Menu


,GJE9DDQ 9F AFKL9F;=G>,>0=EGL=JMFFAF?GF 9J=EGL=;GEHML=JAFALA9L=KL@=;GFF=;LAGFLGL@=@GKL.!
JMFFAF?-EFA9 UAF:GMF<V;GFF=;LAGF &GO=N=J L@=J=9J=KGE=KALM9LAGFKO@=J=ALAKEGJ=9HHJGHJA9L=
for Omnia.9 to initiate the connection to an instance of NfRemote on a remote computer (“outbound”
;GFF=;LAGF O@A;@AK9;;GEHDAK@=<MKAF?L@=Outbound Connection menu.

-F==P9EHD=G>@GO L@AK;9F:=MK=<AK>GJ L=;@FA;9D KMHHGJL  Q;J=9LAF?9F GML:GMF<;GFF=;LAGF QGM


are connecting to the support engineer’s NfRemote computer which in turn allows them to control your
Omnia.9.

'FKM;@ 9 KALM9LAGF L@=KMHHGJL=F?AF==JOGMD<HJGNA<=9F '.9<<J=KKGJ @GKLF9E= 9F<9HGJLFME:=J


K=H9J9L=<:Q9;GDGF   >GJ=P9EHD=  =;9MK='.9<<J=KK=K9J=;GEEGFDQ<QF9EA;9DDQ
9DDG;9L=< MKAF?9@GKLF9E=AKL@=HJ=>=JJ=<;GFN=FLAGF 

144
Chapter 18 System Menu

HTTP Access Menu


The HTTP Access menu allows you to create a “white list” of allowable IP addresses belonging to
F=LOGJCJ=KGMJ;=KL@9LF==<9;;=KKLGL@=-EFA9  KM;@9K9MLGE9LAGFHD9Q GML;GEHML=JK 

S #FL=J L@= '. 9<<J=KK 9F< KM:F=L E9KC AF>GJE9LAGF MKAF? L@= >GDDGOAF? =P9EHD= 9K 9 ?MA<=
      2@=:=?AFFAF?G>L@='. J9F?=>GDDGO=<:QL@=KM:F=LE9KC K=H9J9L=<
by a forward slash).

J Note:/>D<0H4=C4A0= '033A4BBF8C7>DC0<0B:C>0;;>F>=;HC70CB?428P2 '033A4BB

SNMP Menu
The SNMP menu provides the means to enter the information necessary to facilitate communication
:=LO==F-EFA9 9F<QGMJ1,+.E9F9?=J 'LKMHHGJLK1,+.N=JKAGFK49F<4; 

S The SNMP Enable control enables and disables SNMP. Note that SNMP must be disabled in order
to make changes to this section.

S The Communities and Trap SinkY=D<K9;;=HLL@=;GEEMFALQF9E=K9F<'.9<<J=KK=KGJF9E=K


of the trap receiver.

145
Chapter 18 System Menu

S The ContactY=D<9;;=HLKL@== E9AD9<<J=KKG>L@=<=KA?F9L=<;GFL9;L

S Information entered in the LocationY=D<9HH=9JKGFL@=>JGFLH9F=D<AKHD9Q9F<GFJ=EGL=


connections and makes it possible to quickly identify which particular unit you are viewing. This is
especially convenient if you are monitoring more than one Omnia.9 simultaneously.

2@=-EFA9 +' YD=AK9N9AD9:D=NA9L@=:MADL AF&22.K=JN=JGFL@=1,+.2=KL.9?=O@A;@;9F:=


accessed from any white-listed computer on your network.

#FL=JL@='.9<<J=KKG>-EFA9 >GDDGO=<:QL@=HGJLFME:=J9F<1,+.9K>GDDGOK KM:KLALMLAF?QGMJ'.


address: http://192.168.1.1:7380/SNMP

2=KL+G<=AK9DKGHJGNA<=<LG@=DHK=LMH9F<N=JA>QHJGH=J1,+.;GFY?MJ9LAGF9F<;GEEMFA;9LAGF 

J Note: ';40B4140A8=<8=3C70CF74=C4BC<>348B4=01;43=>0DC>64=4A0C43*%$'CA0?BF8;;14
sent and any GETs will return the test value, not the actual value.

Software Update Menu


The Software Update menu displays the current version of the Omnia.9 processing software and the GUI
software. Software downloads are available from the Omnia website and can be downloaded to an
=PL=JF9D31 <JAN=

146
Chapter 18 System Menu

S Tapping the Update from USB button will prompt the Omnia.9 to search the USB drive for the
appropriate software and begin the installation process. Updating software WILL take the Omnia.9
G>>L@=9AJT:=KMJ=LGKOAL;@LGQGMJ:9;CMHHJG;=KKGJ:=>GJ=:=?AFFAF?L@=MH<9L=

S '>QGM 9J=MKAF?L@=-EFA9  J=EGL=KG>LO9J= QGM OADD 9DKGYF<9F GHLAGF LGUpload Software 9
handy feature that lets you update the software on the main unit remotely without making a trip to
the transmitter site if your Omnia.9 is not located at the studio.

S The '/D3 =<L5C@/B7=< B= )' >=9LMJ= 9DDGOK QGM LG :9;C MH QGMJ ;MJJ=FL ;GFY?MJ9LAGF T
AF;DM<AF? AFHML 9F< GMLHML K=LLAF?K  D=N=DK  9M<AG JGMLAF?  <AKHD9Q HJ=K=LK  ;9DA:J9L=< KH=9C=J
HJ=K=LK 9F<HJG;=KKAF?HJ=K=LK  =QGF<ALKMK=>MDF=KK9K 9:9;CMH MLADALQ L@AKAK9DKG9 ?J=9LO9Q
to carry over and duplicate your custom settings on another Omnia.9.

Backup Menu
The Backup Menu9HH=9JK9K9F 9<<ALAGF9D1QKL=E!GFY?AL=E only when you are connected to Omnia.
9 via the NfRemote software, not when viewing the front panel display,9F<9DDGOKL@==FLAJ=;GFY?MJ9LAGF
G>L@=MFALLG:=K9N=<LGQGMJ.!AF9KAF?D= RAH YD= 'L9DKG9DDGOK9HJ=NAGMKDQK9N=<;GFY?MJ9LAGFLG:=
uploaded to the Omnia.9.

2@AK ;GFY?MJ9LAGF UHJGYD=V AF;DM<=K >9;LGJQ 9F< MK=J ;J=9L=<HJG;=KKAF?  3F<G  '- HJ=K=LK 9F< GL@=J
;GFY?MJ9LAGFAF>GJE9LAGF 

1@GMD<QGM OAK@ LGU;DGF=VQGMJ -EFA9  QGM ;9F <GKGKAEHDQ:Q MHDG9<AF?L@=YD=LGL@=K=;GF<MFAL


AFKL=9< G> ;GFY?MJAF? =9;@ H9J9E=L=J AF<ANA<M9DDQ  J9L@=J DAC= L@= ;GF;=HL G> ;J=9LAF? 9F UAE9?=V  AF
computer terms. This is also handy if you (or someone else) accidentally changes something and isn’t
KMJ=G>L@=GJA?AF9DK=LLAF?K 9KMHDG9<AF?9CFGOF?GG<;GFY?MJ9LAGF ;9FAEE=<A9L=DQ?=LL@AF?K:9;CLG
normal similar to using a “restore point” in PC terms.

147
Chapter 18 System Menu

S The /19C>=E<:=/2=<L5C@/B7=<:MLLGF K9N=K L@=;MJJ=FL;GFY?MJ9LAGF LGQGMJ ;GEHML=J 


1=D=;LAF?ALGH=FKMH 95AF<GOK#PHDGJ=JOAF<GO9DDGOAF?QGM LGF9E=9F<;@GGK=L@=DG;9LAGFG>
L@=K9N=<YD=

S The &3AB=@3)>:=/2=<L5C@/B7=<:MLLGF MHDG9<K9HJ=NAGMKDQK9N=<;GFY?MJ9LAGF LG-EFA9  


1=D=;LAF? AL GH=FK MH 9 5AF<GOK #PHDGJ=J OAF<GO 9DDGOAF? QGM LG F9NA?9L= LG L@= YD= GF QGMJ
;GEHML=J9F<K=D=;LAL ;GFYJE9LAGFE=KK9?=OADD9HH=9J9KCAF?QGMLGN=JA>QL@=MHDG9< 

Note: This will temporarily take Omnia.9 off the air and disconnect the remote connection while
C742>=P6DA0C8>=P;4D?;>03B0=3C74D=8CA48=8C80;8I4B

S 2@=:9;CMH ;GFY?MJ9LAGFYD=;GFL9AFK'. J=D9L=<AF>GJE9LAGF9F<L@=H9KKOGJ<:=DGF?AF?LGL@=MFAL


L@9L ;J=9L=< L@= YD=  2@= $ =<L5C@/B7=< and Password drop-down menus let you decide
whether or not this information will be uploaded to the unit being restored.

1=D=;LAF?U0=L9AFV>GJL@='. !GFY?MJ9LAGFL@=<=>9MDL;@GA;= =FKMJ=KL@='.K=LLAF?KAFL@=MFALOADD


:=J=L9AF=<9F<,-2 GN=JOJALL=F :QL@GK=AF L@=:9;CMH YD= 5@9L=N=JK=LLAF?K9J=9DJ=9<QAF L@=
unit receiving the upload will be preserved. Selecting “Override” will take the IP settings in the
:9;CMHYD=9F<9HHDQL@=E9KH9JLG>L@=J=KLGJ9LAGFHJG;=KK 

*AC=OAK= ;@GGKAF?U0=L9AFVAFL@=.9KKOGJ<E=FMOADDC==H L@==PAKLAF?H9KKOGJ<KLGJ=<AFL@=MFAL


O@AD=U-N=JJA<=VOADD9HHDQL@=H9KKOGJ<KLGJ=<AFL@=:9;CMHYD= 

%=F=J9DDQKH=9CAF? A>QGM 9J=OGJCAF?OAL@9KAF?D=-EFA9  9F<F==<LG:JAF?AL:9;C LG9 CFGOF


?GG<;GFY?MJ9LAGF ;@GGK=U0=L9AF V'>QGM 9J=;GHQAF?9;MKLGE ;GFY?MJ9LAGFLG9FGL@=J-EFA9 
9F< O9FL LG 9NGA< HGL=FLA9D '. ;GFZA;LK DAC= <MHDA;9L= '. 9<<J=KK=K  GJ MHDG9<AF? 9F MFCFGOF
H9KKOGJ< ;@GGK=U-N=JJA<=V 

Upgrades Menu
You can add options and upgrade your Omnia.9 at any time without the need to purchase new hardware.
Please call Omnia support for more information.

148
Chapter 18 System Menu

149
Chapter 19 Getting the Sound You Want

Chapter 19
Getting the Sound
You Want
M&=4F0H>A0=>C74A O<6>==064C270 N;>=384

150
Chapter 19 Getting the Sound You Want

Getting the Sound You Want

Quality v. Loudness
-EFA9  AK ;9H9:D= G> HJGNA<AF? KGMF<IM9DALQ KMH=JAGJ LG 9FQ GL@=J HJG;=KKGJ 9N9AD9:D= LG<9Q 9F<AK
=IM9DDQ;9H9:D=G>:=AF?DGM<=JL@9FL@=;GEH=LALAGF LGG

'>DGM<F=KKAKQGMJHJAE9JQ?G9D QGM OADDYF<L@9LQGM ;9FE9L;@L@=D=N=DG>QGMJ;MJJ=FLHJG;=KKGJO@AD=


?=LLAF?9EM;@ ;D=9F=JGF 9AJKGMF< '>@A?@ IM9DALQ9M<AGAKQGMJ?G9D QGMOADD:=9:D==9KADQ9;@A=N=L@9L
?G9D9F<?=LL@==PLJ9:=F=YLG>AF;J=9K=<<A9DHJ=K=F;= 

-EFA9  EGJ=L@9F 9FQGL@=J HJG;=KKGJ EAFAEAR=KL@=AEH9;LG>L@=;D9KKA; UIM9DALQN DGM<F=KKVLJ9<=


G>>:Q=EHDGQAF?HJG;=KK=KDAC=U3F<GV 9F<9F 9<N9F;=<HKQ;@G 9;GMKLA; <AKLGJLAGF E9KCAF?;DAHH=J :ML
bear in mind that NO processor can eliminate that compromise completely.

The trade-off between quality and loudness is still determined primarily by the settings of the Limiters and
!DAHH=JK  GL@ HJG;=KK=K;9F 9<<LG <A9D DGM<F=KK :ML=9;@ <G=K KGAF 9 <A>>=J=FL O9Q  OAL@ <A>>=J=FL
KGMF<AF?J=KMDLK9F< A>MK=<LG=P;=KK <A>>=J=FLKGMF<AF?9JLA>9;LK 

The added short-term density provided by peak limiting can still make audio sound dull or overly-dense
9F<;J=9L=AFL=JEG<MD9LAGF <AKLGJLAGF  9F<9 DALLD=KLADD ?G=K 9 DGF?O9Q 2@=9EGMFLG> DAEALAF?9;LAGF AK
somewhat dictated by the program material itself. Audio that is already dense and has a high average
D=N=D T=N=F9>L=J :=AF?HJG;=KK=<:Q3F<GTOADDKLADD ;9MK=D=KKH=9C DAEALAF?L@9F E9L=JA9DL@9LAKEGJ=
open with lower average levels and higher peak levels.

$GJ=P9EHD= 9DEGKL9FQHGGJDQE9KL=J=<;MJJ=FL!"L@9LXK9DJ=9<Q:==FKIM9K@=<<GOF 9F<@9KGFDQ9


>=O < XKG><QF9EA; J9F?=9DJ=9<QAKFGL?GAF?LG?=LL@=DAEAL=JKEGNAF?T:ML 9 O=DD E9KL=J=<1L==DQ
"9FKGF?OADD

#P;=KKAN=;DAHHAF? GF L@=GL@=J@9F< ;J=9L=K@9JEGFA; <AKLGJLAGF 9F<;9F E9C=L@AF?KKGMF<U=<?QVGJ


ULGJF V'LAK AEH=J9LAN=LGJ=E=E:=J L@9L=N=F O@=F 9DD GMLDGM<F=KKAKQGMJ?G9D there will come a point
when driving the clippers harder will not create additional loudness but will create more distortion 9F<
L@=J=AKFG:=F=YLLG?GAF?:=QGF<L@9LHGAFL

Achieving a High Quality Sound


5@=F9DD GMLDGM<F=KK AKFXLQGMJ HJAE9JQ HJG;=KKAF??G9D 9F<QGM9J=OADDAF?LG?AN=MHBMKL9:ALG><A9D
<GEAF9F;=AFL@=F9E=G>IM9DALQ @=J=9J=KGE=KM??=KLAGFKLG@=DHQGM9;@A=N=L@9L?G9D

S Reduce the Clipper Drive (FM core) or Final Limiter Drive (HD and Streaming cores) in 0.25dB
KL=HKMFLAD QGM J=9;@L@=HGAFLO@=J=L@=IM9DALQFGDGF?=J <J9E9LA;9DDQAEHJGN=K :MLQGMXJ=DGKAF?
too much loudness - then go back up a notch. It’s surprising how much a small change can open up
your sound without giving up much in the way of loudness.

S 0=<M;=L@=D=N=DG>L@= 9F<+APK=;LAGF =KH=;A9DDQA>QGM@9N=AF;J=9K=<L@=GMLHMLG>GF=GJLOG


particular bands to achieve a particular sound.

S Raise the threshold of the Multiband Limiters to keep the audio from hitting the limiters as hard or
9KG>L=F 7GM E9QF==<LGDGO=JL@= 9F<+APD=N=DLGC==H >JGE<JANAF?L@=YF9D ;DAHH=JLGG@9J<
O@=FE9CAF?L@AK9<BMKLE=FL

S Lower the targets of the Multiband AGC compressors

151
Chapter 19 Getting the Sound You Want

S 3K= KDGO=J 9LL9;C 9F< J=D=9K= KH==<K AF L@= 'FHML %!  5A<=:9F< %!  9F< +MDLA:9F< %!
sections.

S 3K=UDGGK=JVJ9LAGKAFL@='FHML%! 5A<=:9F<%! 9F<+MDLA:9F<%!K=;LAGFK 

Achieving Loudness
'>DGM<F=KKAK9F AEHGJL9FLHJG;=KKAF??G9D 9F<QGM9J=OADDAF?LG9;;=HLEGJ=HJG;=KKAF?9JLA>9;LK9F<
?AN=MHKGE=IM9DALQ @=J=9J=KGE=KM??=KLAGFK

S 3K=ULA?@L=JVJ9LAGKAFL@='FHML%! 5A<=:9F<%! 9F<+MDLA:9F<%!K=;LAGFK

S 3K= >9KL=J 9LL9;C 9F< J=D=9K= KH==<K AF L@= 'FHML %!  5A<=:9F< %!  9F< +MDLA:9F< %!
sections.

S Raise the target of the Multiband AGC compressors.

S *GO=JL@=L@J=K@GD<G>L@=+MDLA:9F<*AEAL=JK 7GM E9QF==<LGJ9AK=L@= 9F<+APLG;GEH=FK9L=


for the additional gain reduction this produces in the limiters).

S 'F;J=9K=L@=GN=J9DD 9F<+APD=N=D

S Raise the Clipper Drive (FM core) or Final Limiter Drive (HD and Streaming cores) in 0.25dB steps
MFLAD9<N9F;AF?L@=;GFLJGDFGDGF?=JQA=D<K9<<ALAGF9DDGM<F=KK GFDQEGJ=<AKLGJLAGF 9F<L@=F :9;C
off a notch.

Spectral Consistency & Equalization


Stations often want to create their own “signature sound” on the air with a spectrally consistent output
without regard to the frequency balance of the original source material.

2@=J= 9J= :9KA;9DDQ L@J== O9QK LG 9DL=J L@= KH=;LJ9D :9D9F;= G> QGMJ KGMF< OAL@ -EFA9   9F< =9;@
provides a different end result: The Parametric Equalizer  L@=Multiband AGC Targets  9F<L@=Band
Mix ;GFLJGD  <BMKLE=FLK LG =9;@ K=;LAGF ;9F HJG<M;= KGE=O@9L KAEAD9J GJ N=JQ <A>>=J=FL GML;GE=K
depending upon a variety of factors.

S The Parametric EQ is a very versatile and powerful means by which to shape your sound. You can
K=LMH 9 K@=DNAF? #/ LG ;J=9L= DGO :9KK UKD9E V K=L MH 9 :JG9<  ?=FLD= ;ML LGL@= @A?@ EA<K LG
KEGGL@GML@GJFKGJ>=E9D=NG;9DAKLK GJ9<<KGE=U9AJV GJUKH9JCD=VLGQGMJKGMF<:Q9<<AF?9:ALG>
a boost to the very top of the spectrum.

Because the Parametric EQ is located fairly early in the processing chain and ahead of the
+MDLA:9F< %! 9F< *AEAL=JK  L@=K= HJG;=KKAF? K=;LAGFK 9J= DAC=DQ LG E9C= KGE= 9LL=EHL LG
;GEH=FK9L= >GJ D9J?= ;@9F?=K AF L@= KH=;LJME  &GO=N=J  :=;9MK= L@= ;JGKKGN=J KDGH=K G> L@=
EMDLA:9F<HJG;=KKGJK9J=J=D9LAN=DQ:JG9< L@=.9J9E=LJA;#/;9F @9N=EGJ=AEH9;LL@9FQGMEA?@L
=PH=;L

$AF9DDQ J=E=E:=J L@9L#/ AK9 static HJG;=KK 2@9L AK ALAF;J=9K=K GJJ=<M;=K ?9AF LG9 H9JLA;MD9J
H9JLG>L@=KH=;LJMEAJJ=KH=;LAN=G>HJG?J9E;GFL=FL 'FGL@=JOGJ<K A>QGM9HHDQ< G>:9KK:GGKL
it is applied to all incoming audio whether it is bass shy or bass heavy.

S <BMKLAF?L@= Multiband AGC Targets;9F@9N=9 N=JQKA?FAY;9FL=>>=;LGFL@=KH=;LJ9D:9D9F;=G>


QGMJ KGMF<9KO=DD:MLL@=J=9J=AEHGJL9FL>9;LGJK LG;GFKA<=JO@=F 9<BMKLAF?L@=K=;GFLJGDK  $GJ
=P9EHD=

152
Chapter 19 Getting the Sound You Want

S Raising the target of a particular band can make the audio within that band louder (providing
increased gain) but this can also slow down the release rate if Progressive Release is
=EHDGQ=< 9K.JG?J=KKAN=0=D=9K=AK<JAN=F:QL@=;MJJ=FL9EGMFLG>?9AFAFL@9L:9F< 

The opposite is true when lowering a target. Doing so can make a particular band softer
(providing decreased gain) but can result in an accelerated release rate when Progressive
Release is used.

S 1AF;=J9AKAF?L@=L9J?=LAF;J=9K=K?9AF <GAF?KGE=9FKL@9L9M<AGAF 9H9JLA;MD9J :9F<E9QFGL


:= AF;J=9K=< KM>Y;A=FLDQ A> L@= KGMJ;= E9L=JA9D AK D9;CAF? AF L@9L H9JL G> L@= KH=;LJME  $GJ
=P9EHD= A>L@=KGMJ;=E9L=JA9D D9;CK:JA?@LF=KK9F<L@=L9J?=LG>L@=LGH :9F<K AK J9AK=<LGG
EM;@ L@=J=E9QFGL:==FGM?@UJGGEVAFL@GK=:9F<KLGKM>Y;A=FLDQAF;J=9K=L@=AJGMLHML 

The result may be spectral inconsistencies from source-to-source. If creating a consistent


KH=;LJ9DKA?F9LMJ=AKAEHGJL9FL L@AKE9Q:=HJG:D=E9LA; '> GF L@=GL@=J@9F< QGMJ?G9DKD=9F
EGJ= LGO9J< HJ=K=JNAF? L@= KH=;LJ9D :9D9F;= G> L@= GJA?AF9D E9L=JA9D  L@AK ;GMD< :=
advantageous.

S +9CAF?9<BMKLE=FLKLGL@=Band MixOADD 9DKGAFZM=F;=L@=KH=;LJ9D :9D9F;= :MLKAF;=L@AKAK L@=


YF9D HGAFL AF L@= HJG;=KKAF? ;@9AF :=>GJ= L@= $AF9D !DAHH=J $+ ;GJ=  GJ $AF9D *AEAL=J &" 9F<
1LJ=9EAF? ;GJ=K  9FQ H=9CK L@9L J=KMDL >JGE 9<BMKLE=FLK E9<= @=J=OADD := <=9DL OAL@ GFDQ :Q
these more aggressive processing stages. While it is not always a bad idea to increase the output
D=N=DG>9 H9JLA;MD9J:9F< <=H=F<AF?MHGF L@=KGMF<QGM9J=LJQAF?LG;J=9L= QGME9Q@9N=:=LL=J
J=KMDLK :Q <=;J=9KAF?L@= GMLHML G> L@= J=KL G> L@=:9F<K :Q L@9L 9EGMFL AFKL=9<  -J  QGM E9Q
AFKL=9<OAK@ LGE9C= L@=9<BMKLE=FLK LGKMAL QGMJ L9KL=K 9F< L@=F J=<M;=L@= GN=J9DD 9F<+AP
level.

2@=+MDLA:9F<%!29J?=L9F< 9F<+AP;GFLJGDK;9F:=MK=<LG?=L@=JLG@=DHYF=LMF=QGMJKGMF< 

$GJ=P9EHD= D=LXKK9QQGM9J=MKAF?9 :9F<HJ=K=L9F<QGMO9FLLG;J=9L=9EGJ=<=FK= KGMF<AF?EA<


J9F?=  QDGO=JAF?L@=L9J?=LKG>:9F<K 9F< QGM OADD<JAN=L@GK=:9F<K>MJL@=J LGO9J<9KL9L=G>?9AF
J=<M;LAGF9F<AF;J=9K=L@=AJJ=D=9K=J9L=O@=F .JG?J=KKAN=0=D=9K=AK MLADAR=<  :MLL@AK;9F 9DKG;9MK=
L@=ELG:=;GE=KG>L=JAFL@=EAPA>.JG?J=KKAN=0=D=9K=AKFGLMK=<GJL@=KGMJ;=E9L=JA9D<G=KFXL@9N=
KA?FAY;9FL ;GFL=FL AF L@GK= :9F<K  7GM ;9F ;GEH=FK9L= >GJ L@AK DGKK :Q AF;J=9KAF? L@= ?9AF G> L@GK=
:9F<KAFL@= 9F<+AP 

-J D=LXKK9Q QGM O9FL9F GH=F 9F<<QF9EA; DGO =F< 9F<@9N=J9AK=<L@=L9J?=LK G> 9F<K 9F< LG
9;@A=N=D=KK;GEHJ=KKAGF :MLFGO YF<L@9LL@=:9KKK==EKLGGHJGEAF=FLAF L@=EAP 7GM ;9F <=;J=9K=
L@=?9AFG>L@=K=:9F<KAFL@= 9F<+APK=;LAGFLGJ=KLGJ=9EGJ=:9D9F;=<KGMF<

153
Chapter 20 Factory Presets

Chapter 20
Factory Presets
>=OC;8:4C70C?A4B4C%>F>AA84B 
There are 34 more.

154
Chapter 20 Factory Presets

Factory Presets

Omnia.9 contains a good assortment of factory presets created by a handful of folks who are deeply
H9KKAGF9L=9:GML9M<AGHJG;=KKAF?9F<@9N==PL=FKAN==PH=JA=F;=OAL@L@=HJG<M;L

!J=9LAF? 9 HJ=K=LL9C=K ;GMFLD=KK @GMJK G>;JALA;9D DAKL=FAF? LG9 OA<=N9JA=LQ G> EMKA;  AF;DM<AF?@9F<
HA;C=<UHJG:D=EKGF?KVL@9L;GFL9AF H9KK9?=KL@9L9J=CFGOF LG:=<A>Y;MDL>GJ9H9JLA;MD9JK=;LAGFG>9FQ
processor to handle. Each preset has been created with a particular sonic goal in mind. Some are
J=D9LAN=DQKAEHD=AFKLJM;LMJ= O@AD=GL@=JK=PHDGAL-EFA9 XKMFAIM=HJG;=KKAF?>MF;LAGFK9F<MLADAR=9>=O
“tricks” to achieve a particular sound.

5=@9N=<=DA:=J9L=DQ9NGA<=<F9EAF?HJ=K=LK:Q>GJE9LGJ?=FJ=OAL@L@=G;;9KAGF9D=P;=HLAGF KGQGMXDD
YF<FGU3J:9F VU-H=F!GMFLJQ V U0G;C VGJU1EGGL@(9RRV:9<?=K@=J= 5AL@ ;GFN=FLAGF9DF9EAF? E9FQ
presets that would work quite nicely on your station will be overlooked simply because no one would ever
think of trying something called “Hot Country” if they were running a Light AC format that needed some
=PLJ9HMF;@ 

'FKL=9< O==F;GMJ9?=QGMLG9M<ALAGF=9;@HJ=K=L HJ=>=J9:DQUGFL@=:=F;@V9F<FGLGF L@=9AJ9LYJKL LG


?=L 9 >==D >GJ =9;@ *AKL=F >GJ 9 KH=;LJ9D :9D9F;= L@9L9HH=9DK LGQGM YJKL 9F<L@=F >GJ L=PLMJ= OAL@GML
EM;@ ;GFKA<=J9LAGF >GJDGM<F=KK  +GKLG>L@=HJ=K=LK EAFMKL@=GF=KKH=;AY;9DDQ;J=9L=<>GJE9PAEME
DGM<F=KK  @9N=HD=FLQ G> UJGGE LG ?JGOV AF L=JEK G> DGM<F=KK  KG A> QGM YF< KGE=L@AF? QGM DAC= :ML AL
<G=KFXLK==EIMAL=DGM<=FGM?@ <GFXLKMEE9JADQ<AKEAKKALAFKL=9< LJQALGML9F<MK=L@=KM??=KLAGFKAF
the “Getting the Sound You Want” chapter of this manual to up the loudness.

$AF9DDQ O=9J=G>L=F 9KC=<@GO:=KLLG;J=9L=9 ;MKLGE HJ=K=LU>JGEK;J9L;@V 1AF;=9DD;MKLGE HJ=K=LK


9J=AFALA9DDQ:9K=<MHGF9>9;LGJQHJ=K=L O=J=;GEE=F<:MAD<AF?G>>G>U0=>=J=F;=1=LLAF?KVKAF;=ALAKL@=
most neutral-sounding factory preset and one upon which many of the factory presets themselves were
built.

1981A/O92 – by Jesse Graffam


"=KA?F=<LG;9HLMJ=L@=KHAJALG>GF=G>L@=EGKL>9EGMK9F9DG?HJG;=KKAF?K=LMHKG>L@=XK U
O92” is a 7-band preset that uses tight ratios over threshold in the lowest band for strong consistent bass
regardless of source material with looser ratios in the mid-bands to keep vocals and drums open. It also
takes advantage of the WB AGC2 in the “Bass Only” mode to deliver an especially solid low end and uses
the parametric EQ to “pre-load” the highs which then receive a good dose of fast compression and
DAEALAF? LG <=DAN=J 9 >9EADA9J KGMF<AF? LGH =F< F =P;=DD=FL  =9KQ LG DAKL=F LG HJ=K=L >GJ XK 9F< XK
formats.

Barbeque Sound – by Rob Morsink


'>QGMDAC=9DGLG>UKARRD=V OAL@QGMJEMKA; U 9J:=IM=1GMF<V:JAF?KALGF9F<K=F<KL@=@A?@KGML>JGFLLG
:=FGLA;=< 2@=EMDLA :9F<%!XKMK=9F'FYFAL= J9LAGMF<=JL@J=K@GD<9F<DGGK=J J9LAGKGN=JL@J=K@GD< 
providing higher density in lower-level audio and more openness in louder sounds. Fast multi-band
release times offer up density and spectral consistency while the WB AGC-2 operating in the “Bass Only”
EG<=?AN=KDGO =F<LJ9FKA=FLKDAC=CA;C <JMEKKGE==PLJ9HMF;@

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Chapter 20 Factory Presets

Big Bottom– by Leif Claesson


KL@=F9E=AEHDA=K 9 L@MF<=JAF?9F<:JG9<DGO =F<AKL@=@9DDE9JC G> L@AK  :9F<HJ=K=L 2@=KLJGF?
:9KKAK;J=9L=<:Q9;GE:AF9LAGF G>L@=H9J9E=LJA; #/ L@=5 %!  AF U 9KK-FDQVEG<= 9F<9YF9D
:GGKLAFL@= 9F<+AP 4G;9DK9J=HMK@=<9:AL>9JL@=J:9;C AF L@=EAPAF >9NGJG>L@=KLJGF?DGO=F< 9F<
'FYFAL= J9LAGK AF 9DD :9F<K G>L@=EMDLA :9F<%!9L 9DD LAE=K ;J=9L=K 9 <=FK=9F<;GFKAKL=FL GMLHML 
;GFBMJAF?MH L@=?=F=J9DKGMF<G>9FGL@=JMF F9E=<:MLM:AIMALGMKHJG;=KKGJCFGOF >GJ ALK:9KKL=PLMJ=
9F<;GFKAKL=F;Q '>L@=J=XK:9KKLG:JAF?>GJO9J<AFL@=EMKA; U A? GLLGEVOADDYF<AL

Big Iron – by Jesse Graffam


“Big Iron” is a 4-band preset dedicated to the glory days of radio and emulates the characteristics of such
FGL9:D=;GEHJ=KKGJK9KL@=02 4*9F<L@="GJJGM?@ ". 'LHJGNA<=K9 O9JE GH=F NG;9DKGMF<
9F< OGFXL 9LL=EHL LG 9??J=KKAN=DQ J= =IM9DAR= L@= GJA?AF9D KH=;LJ9D :9D9F;= G> L@= KGMJ;= E9L=JA9D  'L
makes use of Omnia.9’s multi-stage AGC sections prior to the multi-band compressors as well as the
%9AF 0=<M;LAGF -N=JJA<= >=9LMJ= AF L@=EMDLA :9F< K=;LAGF  'LXK ;GEH=LALAN=DQ DGM< GF L@= <A9D  :ML KLADD
punchy.

Celeste – by LeeXS
 >9KL 9;LAF? 5 %! 9F< 'FYFAL= J9LAGK GN=J L@J=K@GD< AF L@= EMDLA :9F< %!XK ?AN= U!=D=KL=V 9
;GFKAKL=FL KGMF<GF 9 OA<=N9JA=LQ G> KGMJ;=E9L=JA9DK  'LXKKLJGF? O9JE  9F<JGMF<:9KK L=PLMJ=9F<
smooth midrange make it a good choice for smooth R&B or light AC stations who value long-term
listening and an easy sound over all-out loudness.

Classical/Jazz – by Leif Claesson


U!D9KKA;9D(9RRVAK9 :9F<HJ=K=L<=KA?F=<LGHJGNA<=?=FLD=OA<=:9F<9F<EMDLA :9F<<QF9EA;K;GFLJGD
OAL@GMLAFL=J>=JAF?OAL@ L@=GJA?AF9D KH=;LJ9D :9D9F;=G> L@= EMKA;  'LAK FGL <=KA?F=<>GJ DGM<F=KK  9K AL
MLADAR=K9 EG<=KL9EGMFLG> KDGOEMDLA :9F<?9AF JA<AF?9F<EAFAE9D YF9D ;DAHHAF?  'L@9K9 EM;@ OA<=J
?9AF J9F?= L@9F ;GJJ=KHGF<AF? HJ=K=LK AF EGKL GL@=J HJG;=KKGJK  QA=D<AF? =P;=DD=FL ;GFKAKL=F;Q 9F<
DAKL=F9:ADALQ 9L DGO=J NGDME=K KM;@ 9K 9F G>Y;=K=LLAF?  GJ AF FGAKQ =FNAJGFE=FLK AF ;9JK 2@AK HJ=K=L
OGJCK=IM9DDQO=DDOAL@;D9KKA;9D9F<B9RRHJG?J9EEAF?

Echoes - by Jim Kuzman


This preset was created with openness and dynamics in mind but despite its mission remains
;GEH=LALAN=DQDGM<GF 9N=J9?= 4=JQ KDGOEMDLA:9F<9LL9;C 9F<J=D=9K=J9L=K @A?@ EMDLA:9F<%!L9J?=L
K=LLAF?K 9F<@A?@=J L@9F FGJE9D %9L=9F<$J==R=L@J=K@GD<KHJ=N=FLKG>LH9KK9?=K>JGE AF;J=9KAF?LGG
much and allow short-term dynamics to pass through with plenty of punch. This makes it a good choice
for stations who play World or New Age music or for any format where long-term listening is a priority.

Empire State of Processing – by Leif Claesson


MADLLG 9FKO=J L@=IM=KLAGF U&GO DGM<;9F 9  :9F< HJ=K=L :=V  U#EHAJ= 1L9L=G> .JG;=KKAF?V J=DA=K
EGJ=GF L@=YF9D ;DAHH=JLG <=DAN=J ;GEH=LALAN=DGM<F=KKO@AD==EHDGQAF?KDGO 9LL9;C 9F<J=D=9K=J9L=K
9F<DGO J9LAGKAF L@=EMDLA :9F<K=;LAGF >GJ9 EGJ= GH=F >==D 4G;9DK 9J=O9JE 9F<>MDD :9D9F;=<:Q9
crisp high end.

Eruption 2.0 – by Leif Claesson and Johnny Lundholm


"==H 9DO9QK HJ=K=FL:9KK;GEHDAE=FLK G>>9KL9LL9;C 9F<J=D=9K=J9L=KAFL@=DGO=KL:9F<9F<9LGM;@
G> AFL=FLAGF9D OA<=:9F< U:J=9L@AF?V E9C= L@= <QF9EA; 9F< HMF;@Q HJ=K=L 9 ?J=9L ;@GA;= >GJ L=;@FG 
=D=;LJGFA;  GJ @A?@DQ HJG<M;=< MJ:9F EMKA;  U#JMHLAGF  V D=9FK @=9NADQ GF L@= YF9D ;DAHH=J LG <=DAN=J
plenty of loudness on-air.

156
Chapter 20 Factory Presets

French Kiss – by Leif Claesson


 :9F<HJ=K=LJ=EAFAK;=FLG>L@=LQH=G>HJG;=KKAF?>9NGJ=<AF $J9F;=9 <=;9<=GJ LOG9?G U$J=F;@
)AKKVG>>=JKMH DGLKG>;D=9F <AKLGJLAGF >J==:9KK9F<MK=KL@=5 %! ;GEHJ=KKGJLGAFL=FLAGF9DDQ9F<
FGLA;=9:DQ HMEH L@=9M<AG O@=F L@= :9KK CA;CKAF  5@AD=D=KK KMAL=<>GJ LQHA;9D ;GEE=J;A9D >GJE9LK  AL
pairs very well with electronic dance music.

Helix – by Jesse Graffam


U&=DAPV AK 9  :9F<HJ=K=LL@9LKHGJLK 9 KEAD=Q >9;=#/;MJN= LG<=DAN=J 9 KGDA< DGO =F< 9F< KH9JCDAF?
@A?@K :MLKLADD HJGNA<=K9 FA;=GH=F EA< J9F?=KGMF< 2@AK HJ=K=L MK=K L@=E9PAEME 9EGMFLG>EMDLA
:9F< J9F?=  9F 'FYFAL= EMDLA :9F< J9LAG  9F< 9 >9AJ 9EGMFL G> @A?@ >J=IM=F;Q DAEALAF? LG <==HDQ J=
=IM9DAR=9F<J= :9D9F;=NAJLM9DDQ9FQAFHML

Imagine Hot Mid – by Rob Morsink


This bright and loud 3-band preset puts and emphasis on mids and highs and employs a fast release time
in the WB AGC-1 compressor to keep levels consistent going into the multi-band AGC section which uses
light ratios over threshold. A great preset for making vocals shimmer and for bringing out all the details in
the upper frequencies.

Jill FM – by Jesse Graffam


 :9F<HJ=K=LAFKHAJ=<:Q L@==;D=;LA; HJG?J9EEAF?G>L@=U(9;CV>GJE9LK  U(ADD$+VHJGNA<=K=P;=DD=FL
vocal and lyrical clarity and a super-smooth mid-range. This preset uses a tight ratio on the AGC but
loose multi-band ratios and heavier multi-band limiting. Carefully designed not to over-process the bass
GJ@A?@=F< L@AKAK9 ?J=9L;@GA;=>GJKL9LAGFKOAL@ 9 @A?@ >=E9D=<=EG?J9H@A; GJOAL@ DGF? L=JEDAKL=FAF?
as a goal who still need to maintain a competitive degree of loudness.

Motor City – by Jesse Graffam


 :9F<HJ=K=LL@9LMF9HGDG?=LA;9DDQ<=DAN=JK9FAF QGMJ >9;=JG;CKGMF< U+GLGJ!ALQV ?=LK9DALLD==<?QAF
the mid-range but is never harsh. This preset makes use of Omnia.9’s Wideband AGC2 after the multi-
:9F<K=;LAGF 9F<O@AD=ALMK=K9?=FLD=EMDLA :9F<J9LAG:=DGOL@J=K@GD< ALE9C=K=PL=FKAN=MK=G>LA?@L=J
ratios in all bands via the Gain Reduction Override feature.

New York – by Jesse Graffam


-F=G>-EFA9 XKDGM<=KL>9;LGJQHJ=K=LK U,=O7GJCVMK=K :9F<KG>>9KLEMDLA :9F<J=D=9K=LAE=K DGLK
G>EMDLA :9F<DAEALAF? DGOEMDLA :9F<%! L@J=K@GD<K 9F<9 ?=F=JGMK9EGMFLG>;DAHHAF?LG:MJF 9 @GD=
AF L@=<A9D OAL@ 9 N=JQ <=FK=  ;GEHJ=KK=<KGMF< N=JQ?=F=JGMK :9KK :GGKL>JGE L@=H9J9E=LJA; #/
;J=9L=K 9 DGM<  @9JEGFA; JA;@ :9KK :ML F=N=J >GJ;=K ALK O9Q AFLG L@= EA<K GJ @A?@K  '> QGMJ E9JC=L
<=E9F<KE9PAEME DGM<F=KK L@AKAK9?GG<KL9JLAF?HJ=K=LL@9L;9F:=:9;C=<<GOFAF K=N=J9DO9QK9K
needed to trade off a bit of that loudness for a cleaner sound.

Northridge FM – by Jim Kuzman and Leif Claesson


“Northridge FM” is a 7-band preset that makes use of the Wideband AGC2 compressor in “Bass Only”
mode to deliver lots of bass punch. Loudness is built relying more upon the dynamics section of Omnia.9
J9L@=J L@9F L@= YF9D ;DAHH=J  KH=;AY;9DDQ L@JGM?@ L@=MK= G> L@= 5A<=:9F< %! ;GEHJ=KKGJ 9F< L@=
multiband limiters. It is also one of the brightest and “coolest” factory presets in terms of spectral balance
9F<;9F:=E9<=DGM<=JA>F==<=<:QAF;J=9KAF?L@=YF9D;DAHH=J<JAN=

157
Chapter 20 Factory Presets

Northridge HD – by Jim Kuzman and Leif Claesson


5AL@ L@==P;=HLAGFG>U.DMLGFAMEV 9DD GL@=J >9;LGJQHJ=K=LK@9N=L@=AJU&"GFDQVH9J9E=L=JKKM;@ 9KL@=
YF9D DAEAL=J 9F<GMLHMLEAP;GFLJGDK LMF=<AF KM;@ 9 O9QL@9L ;@GGKAF?L@=K9E=HJ=K=L>GJ $+9F<&"
allows for a very close on-air sonic match when receivers switch between the analog and digital signal.
5AL@ U,GJL@JA<?=V @GO=N=J MKAF?L@=$+N=JKAGFG>L@=HJ=K=LOADDJ=KMDLAF9FGF 9AJKGMF<L@9LO9KLGG
@=9NQGFL@=@A?@K>GJ&" 2@=J=>GJ= O=J=;GEE=F<KL9LAGFKMKAF?U,GJL@JA<?=$+VGF L@=9F9DG?KA<=
use “Northridge HD” for the HD path.

NYC Attack of the Camclones – by Jesse Graffam


1DA?@LDQ DGM<=J L@9F U,=O 7GJC VULL9;C G>L@=!9E;DGF=KVHJGNA<=K9 @M?= LA?@L  <=FK=:9KKL=PLMJ= 
MK=K >9KL 9LL9;C 9F<J=D=9K=LAE=K LG:MAD<<=FKALQ  9F<@9K<AH AF L@=DGO=J EA<K LGC==H E9D=NG;9DK
from becoming muddy. It also foregoes any stereo enhancement. A great choice for CHR stations who
O9FL @A?@ ;ME= 9F< 9F =9J ;9L;@AF?  HJGEAF=FL KGMF< BMKL 9:GML ?M9J9FL==< LG OAF 9 E9BGJ E9JC=L
DGM<F=KKO9J

Orlando – by Jim Kuzman


1EGGL@ 9F< D9A< :9;C :ML >9J >JGE K@JAFCAF? 9O9Q GF L@= <A9D  L@AK  :9F< HJ=K=LHJGNA<=K ?=FLD=J=
=IM9DAR9LAGF >JGEL@=EMDLA :9F<%!O@AD=KLADDE9AFL9AFAF?KGE=G>L@=;@9J9;L=J G>L@=GJA?AF9D9M<AG 
U-JD9F<GV AK ;GEH=LALAN=DQ DGM< O@=F >=< EGJ= ;GFL=EHGJ9JQ EMKA;  :ML N=JQ KMAL9:D= >GJ B9RR 9F<
;D9KKA;9DKL9LAGFKL@9L<=KAJ=:=LL=JKH=;LJ9D:9D9F;=9F<<A9D HJ=K=F;=L@9F HJ=K=LK<=KA?F=<KH=;AY;9DDQ
>GJL@GK=LQH=KG>EMKA; 2@=J=XKHD=FLQG>JGGELG:MAD<DGM<F=KK9KF==<=<OAL@L@=YF9D;DAHH=JOAL@GML
losing the overall feel of this preset.

Passive Aggressor – by Jesse Graffam


 :9F<HJ=K=LOAL@9KHDALH=JKGF9DALQ U.9KKAN=??J=KKGJV AKJ=D9P=<9F<<QF9EA; AF>==D Q=LALHJGNA<=K
9 ?J=9L<=?J==G>KH=;LJ9D;GFLJGD 9F<GN=J9DD DGM<F=KK:QMLADARAF?-EFA9 XK U%9AF 0=<M;LAGF -N=JJA<=V
settings. Looser ratios below threshold and very tight ratios above in the low and high bands coupled with
very slow multi-band attack and release times make this preset a great easy-to-listen-to choice for
stations that place an emphasis on TSL.

Plutonium FM – by Leif Claesson


U.DMLGFAME $+ V L@=DGM<=KL>9;LGJQHJ=K=L9F<L@=EGKL9??J=KKAN=G>L@=U9LGEA;V HJ=K=LK O9K AFALA9DDQ
<=KA?F=<LGK9LAK>Q L@=KH=;AY; F==<K G>9 D9J?= #MJGH=9F :JG9<;9KL ?JGMH O@GFGLGFDQO9FL=<D9J?=
IM9FLALA=KG>:9KK :ML HD=FLQG>:9KKHMF;@ 9F<EAFAE9D <AKLGJLAGF 9KO=DD 5@=F HJG;=KKAF?>GJ9DD GML
DGM<F=KK  L@=J=XK DALLD= GJ FG  JGGE D=>L >GJ :9KK  &=9NQ :9KK ;DAHHAF? E9C=K KGE= JGGE  :ML 9L L@=
=PH=FK=G> HMF;@ U.DMLGFAME $+VKGDN=K L@AK<AD=EE9 :Q=EHDGQAF?L@= 5 %! ;GEHJ=KKGJ AF L@=
“Bass Only” mode and incorporating the Transient Enhance feature. If your needs call for lots of bass and
<A9D<GEAF9LAGF U.DMLGFAME$+V<=DAN=JK

Plutonium HD – by Leif Claesson


5AL@ L@==P;=HLAGFG>U,GJL@JA<?=V 9DDGL@=J>9;LGJQHJ=K=LK@9N=L@=AJU&"GFDQVH9J9E=L=JKKM;@9KL@=
YF9D DAEAL=J 9F<GMLHMLEAP;GFLJGDK LMF=<AF KM;@ 9 O9QL@9L ;@GGKAF?L@=K9E=HJ=K=L>GJ $+9F<&"
allows for a very close on-air sonic match when receivers switch between the analog and digital signal.
=;9MK= G> L@= O9Q AF O@A;@ U.DMLGFAME $+V MLADAR=K 9 @A?@=J L@9F FGJE9D <=?J== G> ;GEHGKAL=
HJG;=KKAF?  L@= J=KMDL O9K 9F GF 9AJ KGMF< L@9L O9K LGG @=9NQ GF L@= @A?@K >GJ &"  2@=J=>GJ=  O=
recommend stations using “Plutonium FM” on the analog side use “Plutonium HD” for the HD path.

158
Chapter 20 Factory Presets

Point Blank – by LeeXS


1DA?@LDQEGJ=<=FK=9F<DGM<L@9FU(ADD$+ VU.GAFL D9FCV AK9 :9F<HJ=K=LL@9LD=9FKEGJ=GFL@=EMDLA
:9F< DAEAL=JK L@9F L@= YF9D ;DAHH=J LG :MAD< DGM<F=KK  JA?@L :ML 9DO9QK ;D=9F 9F< O=DD :9D9F;=<  L@AK
preset delivers good source-to-source consistency without sounding overly compressed or processed. An
=P;=DD=FL;@GA;=>GJ 9 DA?@L!KL9LAGF L@9LO9FLKDGF? L=JE DAKL=FAF?:ML<G=KFXLO9FLLG<AK9HH=9J >JGE
the dial or a CHR station that doesn’t mind trading a bit of loudness for dynamics.

Quintessence - by Sam Sergi


2@AK :9F<HJ=K=L>=9LMJ=K>MDD ;GFKAKL=FL:9KK9F<9 KH9JCDAF?@A?@=F< +A<K9J=HMK@=<>MJL@=J :9;C
AF L@= EAP 9F< DGM<F=KK AK E9<= 9 HJAGJALQ GN=J GH=FF=KK 9F< HMF;@  $9KL EMDLA :9F< %! K=LLAF?K
=FKMJ=KH=;LJ9D ;GFKAKL=F;QJ=?9J<D=KKG>L@=:9D9F;=G>L@=KGMJ;=E9L=JA9D E9CAF?AL9 ?GG<;@GA;=>GJ
formats where the music spans multiple decades.

Radium – by Leif Claesson


"=JAN=<>JGEU3J9FAME V L@AKE=E:=JG>L@=U9LGEA;V>9EADQG>HJ=K=LK<A9DK:9;C L@=;DAHH=J<JAN=9F<
loosens up the multiband ratios a bit. The result is a slight loss of loudness but a considerably more open
9F<<QF9EA;KGMF< 2@9LK9A< L@AKAKKLADDFGL9IMA=LHJ=K=L '>QGMYF<QGMJK=D>AF9UDGM<VE9JC=L9F<>==D
DAC=QGM F==<LGC==H MH U09<AMEVAK 9 ?J=9LHD9;=LGKL9JL9F<OADD DAC=DQ :=9K DGM<GF L@=<A9D 9K L@=
;GEH=LALAGF:MLOAL@9KA?FAY;9FLDQEGJ=<QF9EA;KGMF< 

Reference Settings - by Leif Claesson


U0=>=J=F;=1=LLAF?KVAKL@=EGKLF=MLJ9D KGMF<AF?>9;LGJQ HJ=K=L :MLL@9L<G=KFGL<AEAFAK@ALK KMAL9:ADALQ
>GJ9OA<=N9JA=LQG>>GJE9LK 'L@9K:==F MK=<OAL@GFDQKDA?@LEG<AY;9LAGFKGF9;LAN=JG;C KL9LAGFKAFN=JQ
“loud” markets with great success. If you have your eyes set on creating your very own custom preset for
QGMJ KL9LAGF  L@AK AK L@= HJ=K=L OAL@ O@A;@ O= J=;GEE=F< QGM :=?AF QGMJ E9KL=JHA=;= 9K AL AK
straightforward and doesn’t include any little tuning “tricks” to create a particular effect.

Rustonium – by Leif Claesson and Jesse Graffam


 @Q:JA< G> LOG H9KL HJ=K=LK T (=KK=XK U0MKLA;ALQV 9F< *=A>XK U.DMLGFAMEV T U0MKLGFAMEV AK -EFA9 XK
<=>9MDL HJ=K=L 2@= :9KK AK9DO9QK HJ=K=FL :ML HMF;@Q  O@AD=L@=@A?@ =F< AK :JA?@L9F<HJGEAF=FL :ML
F=N=J K@JADD GJ =<?Q 2@=EMDLA :9F<9LL9;C 9F<J=D=9K=LAE=K9J=J=D9LAN=DQ KDGO  :ML L@AK  :9F<HJ=K=L
E9C=K=PL=FKAN=MK=G>-EFA9 XKHJG?J=KKAN=J=D=9K=;GFLJGDLG9DDGOHD=FLQG>?9AF;GFLJGDAF=9;@:9F<
without the fear of any band getting “stuck” with too little gain. This preset also places the Wideband
%!9>L=JL@=EMDLA :9F<K=;LAGFLG:MAD<KGE==PLJ9DGM<F=KKBMKL:=>GJ=L@=YF9D;DAHH=J ?J=9LU9K AKV
GML G> L@= :GPHJ=K=L>GJF=9JDQ=N=JQ;GFL=EHGJ9JQ>GJE9L

Stacked Boxes – by Jim Kuzman


0=E=E:=J:9;C O@=F L@=<A9D <GEAF9LAF?9AJ;@9AFO9KE9<=MH G>9J9;C >MDDG>9F9DG??=9J 19Q GF=
:GP>GJ ;GEHJ=KKAGF9F<D=N=DAF? 9FGL@=J H9AJG>:GP=KOAL@DGLKG>*#"XKHJGNA<AF? :9F<;GEHJ=KKAGF 
9F<9 HJG?J9EH=9C DAEAL=J E9Q:= >JGE L@= K9E=>GDCK 9K L@=;GEHJ=KKGJD=N=D=J  T9DD <JANAF?9 YF9D
DAEAL=J;DAHH=JOAL@ =<?=E=L=JK9F<9 C=Q DG;C=<>JGFLH9F=D5=<GLGG U1L9;C=< GP=KVH9QK@GE9?=
to the not-so-distant past of analog processing.

Stacked Boxes Plus! - by Jim Kuzman


->>KHJAF?G>U1L9;C=< GP=K VL@=U.DMKVN=JKAGF MK=K KAP :9F<K G>EMDLA:9F<;GEHJ=KKAGF 9F< DAEALAF?
AFKL=9< G> >GMJ  HJGNA<AF? 9 KAEAD9J GN=J9DD >==D 9K L@= GJA?AF9D :ML OAL@ EGJ= J=YF=< EA<K 9F< :=LL=J
source-to-source spectral control.

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Chapter 20 Factory Presets

The Blitz – by Jim Kuzman


*ANAF?HJGG>L@9LDGM<F=KK9F<@A?@ IM9DALQ 9M<AG9J=FGDGF?=JEMLM9DDQ=P;DMKAN=IM9DALA=K L@AK  :9F<
HJ=K=L @9F<K GN=J LA?@L  KGDA<:9KK AFL=DDA?A:D= EA< J9F?=  9F 9AJQ @A?@ =F<  9F< 9 OA<= KL=J=G AE9?= 
"=KA?F=<LGHJGNA<=L@=E9PAEME <=?J== G>DGM<F=KK :MLF=N=J 9L L@==PH=FK=G> 9M<AGIM9DALQ U2@=
DALRVAK9?J=9L;@GA;=>GJ;D9KKA; 9F<9;LAN=JG;C>GJE9LKOAL@HD=FLQG>JGGE>GJ9F=PLJ9< GJLOGGFL@=
;DAHH=J<JAN=>GJL@GK=O@GF==<EGJ=DGM<F=KK 2@9FCK  ADD

Tokyo – by Jesse Graffam


GJFG>U.9KKAN=??J=KKGJV9F<;J=9L=<AF@GE9?=LGL@=U;D9KKA;VKGMF<G>HJ=NAGMK-EFA9HJG;=KKGJK 
L@= :9F<U2GCQGV<=DAN=JK<=L9AD=<LJ9FKA=FLK9F<H=J;MKKAGFOAL@GMLK9;JAY;AF?9N=J9?=DGM<F=KK 2@=
EA< J9F?= AK >MDD 9F< JGMF< OAL@ AF;J=9K=< NG;9D AFL=DDA?A:ADALQ  9 KGMF< L@9L LJ9FKD9L=K O=DD LG KE9DD=J
speakers and earbuds as well as higher-quality systems. A tightly-controlled low end ensures the bass
always shows up for the party.

Trinity – by Leif Claesson


'FKHAJ=<:QL@=KGMF<G>L@=;D9KKA;-EFA9 $+2MJ:G L@AK :9F<HJ=K=LAK<QF9EA;9F<HMF;@QOAL@ 9F
open mid-range and a more classic “Omnia” sound. “Trinity” doesn’t use any parametric EQ or stereo
=F@9F;=E=FL JMFKOAL@9N=JQDA?@LJ9LAGAF L@=EMDLA :9F<K=;LAGF 9F<HJ=K=FLKALK=D>N=JQLJ9FKH9J=FLDQ
GFL@=9AJ E9CAF?ALKMAL9:D=>GJF=9JDQ9FQ>GJE9L

Upsidasium – by Leif Claesson


2@=KEGGL@=KL 9F<EGKLGH=F G>L@=U9LGEA;VHJ=K=LK U3HKA<9KAMEVAK KLADD J=D9LAN=DQDGM<:MLL@9FCKLG
N=JQ DGGK= EMDLA:9F< J9LAGK  AK 9DKG =PLJ=E=DQ GH=F KGMF<AF?  "JMEK 9F< GL@=J LJ9FKA=FL KGMF<K ;ML
L@JGM?@ L@=EAP NG;9DK9J=<QF9EA; 9F<L@=MHH=J@A?@ =F<<=DAN=JKL@9LUDA?@L=J L@9F9AJVKGMF<@=J=XK
DGGCAF?9L QGM  "=FFQ  '>QGMJ KALM9LAGF H=JEALK ?ANAF?MH L@= D9KL< G> DGM<F=KK AF >9NGJ G> 9 KGMF<
L@9LXK =9KQ LGDAKL=F LGDGF? L=JE :ML QGM <GFXL O9FL LG KGMF<MF<=JHGO=J=<GF L@=<A9D  U3HKA<9KAMEV
offers the perfect compromise.

Uranium-238 – by Leif Claesson


2@= K=;GF< DGM<=KL G> L@= U9LGEA;V HJ=K=LK  U3J9FAME V AK KDA?@LDQ D=KK J9<AG9;LAN= N=JKAGF G>
U.DMLGFAME $+V  'L @9K 9 KAEAD9J KGMF< LG ALK H9J=FL HJ=K=L  :ML <G=K FGL MLADAR= L@= 5A<=:9F< 
;GEHJ=KKGJ 9>L=J L@= EMDLA:9F< K=;LAGF 9F< =EHDGQK D=KK YF9D ;DAHHAF?   ?GG< ;@GA;= A> E9JC=L
dominating loudness is still your goal but “Plutonium” feels too over-the-top.

Zenith – by Jesse Graffam


How much processing can you get away with before things start to sound processed? The 7-band
U8=FAL@VO9K;J=9L=<LG9FKO=J L@9LIM=KLAGF DO9QK GH=F 9F<F9LMJ9DKGMF<AF?AF=P;@9F?=>GJGN=J9DD
KH=;LJ9D9F<DGM<F=KK;GFKAKL=F;Q L@AK HJ=K=LD=LKL@=EMKA; :=O@9LALO9K AFL=F<=<LG:=TOAL@ BMKL9
little push in the right direction.

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Chapter 21 Remote Interface Software

Chapter 21
NfRemote Client Software
Connecting to the other side, but with a slick remote
interface instead of a medium and a seance.

161
Chapter 21 Remote Interface Software

Omnia.9 Remote Interface Software

2@=-EFA9 J=EGL=AFL=J>9;=KG>LO9J= ,>0=EGL= AK9K=H9J9L=U;DA=FLVKG>LO9J=9HHDA;9LAGF L@9L;9F :=


<GOFDG9<=< 9F< AFKL9DD=< GF F=9JDQ 9FQ <=KCLGH  D9HLGH  GJ L9:D=L .! G> J=9KGF9:DQ EG<=JF NAFL9?=
JMFFAF?GF 5AF<GOK 6.  4AKL9  GJ  4=JKAGFK    9F< D9L=J 9DKGG>>=J KMHHGJL>GJ @A?@ ".'
displays.

5AL@ BMKL9 >=O<A>>=J=F;=K O@A;@OADD:=<AK;MKK=<AFL@AK;@9HL=J L@AK;DA=FLKG>LO9J=DGGCK9F<GH=J9L=K


=P9;LDQDAC=L@=>JGFLH9F=D;GFLJGDKG>L@=-EFA9 ALK=D>AF;DM<AF?LGM;@K;J==FKMHHGJLGF.!XKHJGNA<AF?
that feature) to provide a familiar and feature-rich means of controlling your Omnia.9 remotely. If you can
<GALGFL@=>JGFLH9F=D QGM;9F<GALNA9J=EGL= 9 >=9LMJ=QGMXDD9HHJ=;A9L=A>QGMJ-EFA9 AKDG;9L=<AF
9 FGAKQ J9;C JGGE  9L L@= LJ9FKEALL=J KAL=  GJ =N=F L@GMK9F<K G> EAD=K 9O9Q 9L 9 <AKL9FL KL9LAGF QGM
oversee.

Perhaps one of the most valuable capabilities of the client software is speaker calibration. Since your
-EFA9  9DJ=9<Q ;GFL9AFK 9 :MADL AF HAFC FGAK= ?=F=J9LGJ 9F< 9F 02  9<<AF? QGMJ GOF ;9DA:J9L=<
EA;JGH@GF=LGL@=K=LMH OADD 9DDGO QGM LGH=J>GJE 9 ;9DA:J9LAGF G>9FQKH=9C=J KQKL=ETAF;DM<AF?QGMJ
KLM<AG ;GFLJGDJGGE J9;CJGGE HJG<M;LAGF>9;ADALQ GJ9FQJ=EGL=EGFALGJHGAFL 

7GM E9QOGF<=JO@QO=;GFKA<=JL@AKLG:=KM;@9FAEHGJL9FL=P=J;AK=O@=FDAKL=F=JK9J=FXL?GAF?LG:=
@=9JAF?QGMJKL9LAGF GF;9DA:J9L=<EGFALGJK %J=9LIM=KLAGF7=K DAKL=FAF?LGQGMJKL9LAGFXKHJG;=KKAF?GF
speakers of different qualities in a wide variety of listening environments is important to get a “real world”
>==D G> @GO L@AF?K KGMF< T :ML O= >==D KLJGF?DQ L@9L @9NAF?9L D=9KL GF= K=L G> ;9DA:J9L=< UJ=>=J=F;=V
EGFALGJKAK9:KGDML=DQ;JALA;9DLGE9CAF?=<M;9L=<<=;AKAGFK9KQGM9<BMKLQGMJHJG;=KKAF? 

'>QGM E9C=9<BMKLE=FLK:9K=<MHGFO@9LQGM@=9J GFMF ;9DA:J9L=<KH=9C=JK>JGEOAL@AF L@=.JG?J9E


"AJ=;LGJXK ;9J  >GJ =P9EHD=  =N=JQ <=;AKAGF QGM E9C= OADD :=AFZM=F;=<:Q L@= AF9;;MJ9;A=K G>L@GK=
speakers in that room. Details of how to perform such a calibration are found later in this chapter.

Downloading, Installing, and Configuring the Client Software


=>GJ=L@= ;DA=FL KG>LO9J=;9F := <GOFDG9<=<  QGMJ -EFA9  EMKL :=;GFF=;L=<LGQGMJ F=LOGJC 9F<
EMKL@9N=9F '.9<<J=KK=<9KKA?F=<LGAL 9HJG;=KKGMLDAF=<=9JDA=J AF L@AKE9FM9D 'LEMKL9DKG@9N=9
password enabled and be HTTP “whitelisted” at least until you connect with the remote.

!GFF=;LLGQGMJ-EFA9  :Q =FL=JAF?@LLH'.<<J=KKAFLGL@=9<<J=KKOAF<GOG>9FQKL9F<9J<


O=: :JGOK=J>GJ=P9EHD= http://192.168.0.183.7380) You will see a screen entitled “Welcome to Omnia.
9 HTTP Server” with a current version number.

3F<=JL@=U"GOFDG9<9:D=KVK=;LAGF ;DA;C GF L@=DAFC >GDDGOAF?U"GOFDG9<0=EGL='FL=J>9;= V2@AKK@GMD<


be done each time you update the software in your Omnia.9 to ensure full compatibility between the unit’s
software and the remote software.

Some Important Ethernet/Wi-Fi Network Considerations


5@AD=L@=;DA=FLKG>LO9J=ALK=D>AKFGL9 L=JJA:DQJ=KGMJ;= AFL=FKAN=9HHDA;9LAGF AL<G=KHD9;=KGE=<=E9F<K
MHGF QGMJ DG;9D F=LOGJC 2@= ;DA=FL9DDGOK QGM LGE9C= UDAN=V 9<BMKLE=FLK LGL@=-EFA9   G:K=JN= ALK
E=L=JK9KO=DD9K GL@=J <AKHD9QK KM;@ 9K L@=GK;ADDGK;GH=  AF J=9D LAE= 9F<GF F=LOGJCK OAL@ KM>Y;A=FL
bandwidth play audio from the Omnia.9 to your remote control PC. The more information the client asks
>GJ L@=EGJ=;JALA;9DALAKLG@9N=9JG:MKL#L@=JF=LGJ5A $A;GFF=;LAGFLGL@=:=LO==FAL9F<-EFA9 

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Chapter 21 Remote Interface Software

Understanding the NfRemote Connection Window


It is possible to connect to any number of Omnia.9’s individually or concurrently using NfRemote.

S The Comment Y=D< 9DDGOK QGM LG=FL=J 9 U>JA=F<DQV F9E= >GJ =9;@ <=NA;= LGO@A;@ QGM HD9F LG
connect.

S The IP AddressY=D<K@GMD<;GFL9AFL@='.9<<J=KKG>L@=-EFA9 @GKL;GEHML=J

S The PasswordY=D<K@GMD<;GFL9AFL@=K9E=H9KKOGJ<=KL9:DAK@=<AFL@=-EFA9 

S The Connection Type dropdown menu determines whether the connection is Outbound
(NfRemote initiates connection to Omnia.9) or Inbound (Omnia.9 listens for an incoming
connection request from an instance of NfRemote). Note that the IP addresses of inbound
connections are enclosed by chevrons.

S It is possible to stream audio from the Omnia.9/ host PC to a remote PC using NfRemote. The
Audio Streaming dropdown menu enables this feature and determines the type of data
;GEHJ=KKAGF MK=< LG <=DAN=J L@= 9M<AG 9K O=DD 9K L@= GK;ADDGK;GH=  02  9F< $$2 <AKHD9Q
information.

I Automatic chooses the best audio format based upon connection speed.

I Off ;GEHD=L=DQ <AK9:D=K 9M<AG KLJ=9EAF? 9F< L@= ;DA=FL KA<= GK;ADDGK;GH=  02  9F< $$2
displays.

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Chapter 21 Remote Interface Software

I Force Lossy enables lossy streaming even on connections that are on the border of being too
slow and forces lossy streaming even on fast connections.

I Force Lossless enables lossless streaming even on connections that are too slow. This choice
AK:=KLJ=K=JN=<>GJDG;9DF=LOGJCKOAL@KM>Y;A=FL:9F<OA<L@LGKMHHGJLAL 

S Clicking on the Connect button will initiate a connection to Omnia.9 whose IP address is currently
displayed.

S The Clear:MLLGFJ=EGN=K9DDAF>GJE9LAGF>JGEL@=!GEE=FL '.<<J=KK 9F<.9KKOGJ<Y=D<K

S The Add:MLLGF;GDD=;LKL@=;MJJ=FL!GEE=FL '.<<J=KK 9F<.9KKOGJ<AF>GJE9LAGF9F<;9JJA=KAL


to the bottom of the window where it is saved for easy recall later.

S The Update button refreshes the list of saved connections.

S Clicking on the Delete button will remove the selected connection from the list.

S The Move Up and Move Down buttons will move the selected connection up or down respectively
in the list so that you can sort them in any order.

S The User Interface Pointing Device <JGH<GOF E=FM G>>=JK K=N=J9D ;@GA;=K >GJ GHLAEARAF?
NfRemote depending upon the type of device you are using.

I Local Mouse or Touchpad should be selected if you are running NfRemote on a local PC or
laptop.

I Virtual Machine or Remote Desktop is the correct choice if you are connecting to the
;GEHML=J JMFFAF? ,>0=EGL= >JGE 9FGL@=J ;GEHML=J  2@AK AF;DM<=K KG>LO9J= DAC= .9J9DD=DK 
4+O9J=  2=9E 4A=O=J  %G2G+Q.!  0=EGL= "=KCLGH !GFF=;LAGF  GJ 9 4,! ;DA=FL  59;GE
"A?ALAR=JMK=JKK@GMD<9DKGK=D=;LL@AKGHLAGF

I Local Mouse (Touch Simulation) 9DDGOK QGM LG MK= L@= YF?=J >JA=F<DQ D9QGML G> L@= 2GM;@
1;J==F GHLAGF:MLOAL@ 9 EGMK= 'L;9F 9DKG:=MK=<AFKL=9<G>L@=4AJLM9D+9;@AF=GJ 0=EGL=
Desktop option.

I Touch ScreenHJGNA<=K 9 YF?=J >JA=F<DQD9QGMLGHLAEAR=<>GJ LGM;@ K;J==F <=NA;=K DAC=L9:D=LK


or all-in-one PC’s with a touch interface.

I Touch Screen PresentationGH=J9L=KBMKLDAC=2GM;@ 1;J==F :MLOAL@ 9D9J?=;MJKGJ E9CAF?AL


A<=9D>GJ KALM9LAGFKO@=F QGM 9J=MKAF?9 HJGB=;LGJ >GJ <=EGFKLJ9LAGF GJAFKLJM;LAF?9?JGMH GF
how to use NfRemote.

Initiating an Outbound Connection from Omnia.9


,GJE9DDQ 9F AFKL9F;=G>,>0=EGL=JMFFAF?GF9 J=EGL=;GEHML=JAFALA9L=KL@=;GFF=;LAGF LG9F -EFA9 
UAF:GMF<V;GFF=;LAGF &GO=N=J  L@=J=9J=KGE=KALM9LAGFKO@=J=ALAK EGJ=9HHJGHJA9L=>GJ -EFA9  LG
initiate the connection to an instance of NfRemote on a remote computer (“outbound” connection).

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Chapter 21 Remote Interface Software

-F==P9EHD=G>@GOL@AK;9F:=MK=<AK>GJ L=;@FA;9D KMHHGJL  Q;J=9LAF?9F GML:GMF<;GFF=;LAGF QGM


are connecting to the support engineer’s NfRemote computer which in turn allows them to control your
Omnia.9.

'FKM;@ 9 KALM9LAGF L@=KMHHGJL=F?AF==JOGMD<HJGNA<=9F '.9<<J=KKGJ @GKLF9E= 9F<9HGJLFME:=J


K=H9J9L=<:Q9;GDGF   >GJ=P9EHD=  =;9MK='.9<<J=KK=K9J=;GEEGFDQ<QF9EA;9DDQ
9DDG;9L=< MKAF?9@GKLF9E=AKL@=HJ=>=JJ=<;GFN=FLAGF 

Client-Only Controls
KE=FLAGF=<=9JDA=J L@=J=EGL=AFL=J>9;=DGGCKF=9JDQA<=FLA;9D LG-EFA9 XK>JGFLH9F=D<AKHD9Q '> QGM
@9N=9DJ=9<Q>9EADA9JAR=<QGMJK=D> OAL@ ALK ;GFLJGDK  QGM K@GMD<>==D JA?@L9L@GE= GH=J9LAF?ALJ=EGL=DQ 
2@=J=>GJ= GFDQL@GK=;GFLJGDKGJ>=9LMJ=KMFAIM=LGL@=;DA=FLKG>LO9J=OADD:==PHD9AF=<@=J=

(GAFAF?L@='FHML $+ 1LM<AG .JG;=KKAF?  &" 1LJ=9EAF? +GFALGJ -MLHML  9F<1QKL=E !GFLJGDK GF L@=
&GE= K;J==F AK 9F 9<<ALAGF9D !DA=FL M<AG E=FM  O@A;@ ;GFL9AFK 9<<ALAGF9D E=FMK >GJ !DA=FL M<AG
-MLHML !DA=FL+A;JGH@GF='FHML 9F<!DA=FL$AD=0=;GJ<=J #9;@ E=FMAK<AK;MKK=<AF EGJ=<=L9ADAFL@AK
manual.

<<ALAGF9DDQ  L@= Save Preset and Load Preset menus for each of the processing cores in the client
software have the additional capabilities of being able to save a preset to the location of your choice on
L@=J=EGL=.! ALK=D> GJDG9<9HJ=K=L>JGEL@=J=EGL=.!LGQGMJ-EFA9  2@AKAF;DM<=KZ9K@<JAN=K9F<
=PL=JF9D 31 <JAN=K O@A;@ HJGNA<=K9F=P;=DD=FLO9QLG:9;C MH 9FQ;MKLGEHJ=K=LK GJ=9KADQ<MHDA;9L=
those presets on another Omnia.9.

When using the Load Preset>MF;LAGF  :=9O9J= L@9L L@= HJ=K=L OADD :=DG9<=<LG L@= Current Preset
position and will therefore immediately go on the air <<ALAGF9DDQ AF GJ<=J >GJ L@=HJ=K=LLG9HH=9J AF L@=
DAKL QGMEMKLK9N=ALMKAF?L@=Save Preset function.

Client Audio Output Menu


The Client Audio Output Menu contains additional controls similar to those in the Monitor Output menus of
the Omnia.9 (with a few differences) and a TCP Link Status window to provide information about the
remote connection.

Patch Point Menu


2@= .9L;@ .GAFL +=FM HJGNA<=K 9<<ALAGF9D ;GFLJGDK >GJ =F9:DAF? !DA=FL M<AG 9F< 10!  ;@GGKAF? 9F
-MLHML "=NA;=  9<BMKLAF? !DA=FL 4GDME=  9F< K=LLAF? L@= M<AG M>>=J  F 9<<ALAGF9D H9L;@ HGAFL >GJ
monitoring the Client Mic Input is also available.

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Chapter 21 Remote Interface Software

S 5@=F K=D=;L=<  L@=Audio Enable feature allows processed audio to from various patch points
within the Omnia.9 to be streamed directly to the client PC. Keep in mind that audio streams require
:9F<OA<L@ 9K <G=K<AKHD9QAF?H9L;@ HGAFLK GF L@=GK;ADDGK;GH=  $$2 KH=;LJME 9F9DQR=J  GJ 02 
"MJAF?@9F<K@9CAF? L@=J=EGL=;GFLJGDKG>LO9J=E=9KMJ=KL@=9N9AD9:D=F=LOGJC :9F<OA<L@ '>QGM
9J=GF 9 DG;9DF=LOGJC QGM OADD?=L.!+,'!+  KLJ=9EAF? '>QGM;GFF=;LGN=J L@=AFL=JF=LOAL@
KM>Y;A=FL:9F<OA<L@  QGM OADD ?=L<9L9 J=<M;=<KLJ=9EAF?  '> :9F<OA<L@ AK E9J?AF9D  ;=JL9AF H9L;@
points such as MPX Input/Output (which requires at least 800kbps) or L/R Pre-emph Input/Output
(which requires at least 400kbps). will be grayed out. You can still monitor the patch points under
U+.6 "=;G<=<V  O@A;@ <GL@=<=;G<AF? 9F<<= =EH@9KAK AF L@=-EFA9  ALK=D>9F<LJ9FKHGJLZ9L
9M<AG O@A;@J=IMAJ=GFDQC:HK

S Enabling the SRC;GFLJGD D=LK L@= ;DA=FL KG>LO9J= <QF9EA;9DDQ 9<BMKLL@=K9EHD=J9L=G> L@=;DA=FL
HD9Q:9;C '>QGM9J==PH=JA=F;AF?AFL=JJMHLAGFKGJ<JGHGMLKLGL@=;DA=FL9M<AGKLJ=9E =F9:DAF?10!
OADD J=KMDLAF 9 KL=9<A=J ;GFF=;LAGF  L@GM?@ 9L9 KDA?@L;GKL LG!.3 MK9?=  0=?9J<D=KK L@=;DA=FL
software will automatically determine whether to stream client audio in a linear (uncompressed)
.!+>GJE9LGJAF9 <9L9 J=<M;=<>GJE9L O@A;@ O@AD=;GEHJ=KK=< ;9FKLADDHJGNA<==P;=DD=FL9M<AG
quality.

S 2@= ;DA=FL KG>LO9J= J=;G?FAR=K 9FQ 9M<AG GMLHML <=NA;=K KH=9C=JK  @=9<H@GF=K  KGMF< ;9J<K 
AFKL9DD=< GF L@=J=EGL= ;GFLJGD .!  9F< E9C=KL@=E 9N9AD9:D= AF L@= Output Device drop-down
menu.

S The Client Volume slider controls the volume of the selected output devices on the remote PC.
This control is duplicated on the top menu of the client software where it is available at all times.

S "=H=F<AF? MHGF L@= :9F<OA<L@ 9N9AD9:D= GF QGMJ DG;9D F=LOGJC  AL E9Q := F=;=KK9JQ LG :M>>=J
AF;GEAF?9M<AGLGL@=;DA=FLLG9NGA<<JGHGMLK:Q9<BMKLAF?L@=Audio Buffer control. The range of
L@AK;GFLJGDAK:=LO==F  9F<  EADDAK=;GF<KK=;GF<K 2@=E=L=JKGF L@=J=EGL=.! OADD
9MLGE9LA;9DDQ 9<BMKL KG L@9L L@=Q 9J= 9DO9QK KQF;@JGFAR=<OAL@ L@= ;DA=FL 9M<AG 9K DGF? 9K ;DA=FL
9M<AGAK=F9:D=< 'F 9<<ALAGF QGM ;9F MK=L@=E=L=J <=D9Q ;GFLJGDAF L@=<AKHD9Q K=;LAGF LG<=D9Q
meters further to compensate for any delay occurring after the client PC (such as when using
Bluetooth speakers).

S The TCP Link Status window provides information about the connection status between Omnia.9
9F< L@= J=EGL= .!  AF;DM<AF? !MJJ=FL .AF? LAE= AF EADDAK=;GF<K  *AFC 9F<OA<L@ AF ) K=;  L@=
M<AG$GJE9L.!+GJ4GJ:AK G>L@=KLJ=9E 9F<1=F<9F<0=;=AN=J9L=K

Client Microphone Input Menu


2@=!DA=FL+A;JGH@GF='FHML+=FM 9DDGOK QGM LGHA;C O@A;@ EA;JGH@GF=QGMX<DAC=LGMK= 9H9J9E=LJA;
=IM9DAR=J LG;J=9L=;MKLGE #/ ;MJN=K>GJ AF<ANA<M9DEA;K 9F<L@= 9:ADALQ LGK9N=9F<J=;9DD ;MKLGE EA;
presets. There is also a duplicate button to the TCP Link Status window and the Display Settings menu
for convenience.

Input Device Menu


2@='FHML"=NA;=+=FM HJGNA<=K9DAKLG>9N9AD9:D=EA;JGH@GF=K AF;DM<AF?:MADL AFEA;K9F<9FQGML:G9J<
microphones you may have plugged into the PC running the remote interface software. If you plug in an
GML:G9J<EA; O@AD=L@AK OAF<GO AK GH=F QGM E9Q F==<LGL9H L@= U0=>J=K@ *AKLV:MLLGF AF GJ<=J >GJ L@=
KG>LO9J=LGJ=;G?FAR=L@=9<<ALAGF

Load Preset Menu


This menu operates in a manner similar to the Load Preset menu in the various processing cores of the
-EFA9  &GO=N=J L@=;DA=FLKG>LO9J=G>>=JK9F9<<ALAGF9D Load From button that allows you to call up a
HJ=K=LYD=>JGEL@=J=EGL=.! AF;DM<AF?>JGE9Z9K@<JAN=GJ=PL=JF9D31 <JAN=

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Chapter 21 Remote Interface Software

Save Preset Menu


Just like the Load PresetE=FM  L@AK GH=J9L=K DAC=ALK ;GMFL=JH9JLK AF GL@=J K=;LAGFK G> -EFA9  2@=
Save To:MLLGF 9DDGOKQGM LGK9N=QGMJHJ=K=LKLG9DG;9LAGFGF L@=J=EGL=.! AF;DM<AF?9 Z9K@<JAN=GJ
=PL=JF9D31 <JAN=

Client File Recorder


Just as it is possible to record audio from various patch points within the processing chain on the actual
-EFA9  ALK=D> QGM ;9F 9DKGJ=;GJ<9M<AGKLJ=9E=<LGL@=;DA=FL.! 2@=J=;GJ<=JKAF L@=;DA=FLKG>LO9J=
OGJCAF=P9;LDQL@=K9E=O9Q 

Speaker Calibration
KE=FLAGF=<=9JDA=J L9CAF? L@= LAE=LG;9DA:J9L= 9L D=9KLGF= K=LG>KH=9C=JK LG9;L9K QGMJ J=>=J=F;=
EGFALGJKAKLAE=O=DDKH=FL 'FGJ<=JLGH=J>GJE9KH=9C=J;9DA:J9LAGF QGMF==<>GMJLGGDK

S A calibrated microphone to capture the audio.

S A pink noise generator to provide audio for measurement (pink noise having an equal amount of
“noise power” in each octave).

S J=9D LAE=9M<AG9F9DQR=J02 LGNAKM9DDQ<AKHD9QO@9LL@=EA;JGH@GF=AK@=9JAF?

S Some means by which to correct for speaker and/or room inaccuracies (such as a parametric
=IM9DAR=J

-EFA9 HJGNA<=KL@J==GMLG>L@=>GMJLGGDKTL@=HAFCFGAK=?=F=J9LGJ L@=02 9F<L@=#/ DDQGMF==<


to add is the calibrated mic.

Choosing a Calibrated Mic


It is important to understand that you must use a calibrated microphone designed for sound measurement
HMJHGK=KLGH=J>GJE9HJGH=J;9DA:J9LAGF 1LM<AGGJJ=;GJ<AF?EA;KT=N=FL@=@A?@ =F< @A?@ <GDD9JGF=KT
are of no value when calibrating a system.

7GM ;9F KH=F<L@GMK9F<KG><GDD9JKGF 9 K;A=FLAY; ?J9<= @A?@ HJ=;AKAGF ;9DA:J9L=<EA;JGH@GF= :MLL@=


?GG<F=OKAK TQGM <GFXL@9N=LG #N=FL@=D=9KL=PH=FKAN=EG<=DKOADDHJGNA<=?GG<IM9DALQJ=KMDLK9F<
are worthy of consideration.

5@AD=O=9J=FGL AF L@=:MKAF=KKG>K=DDAF?EA;JGH@GF=K FGJ <GO=@9N=9FQAFL=J=KLAF HJGEGLAF?9FQ


:J9F<GJEG<=DGN=J 9FGL@=J O=;9F L=DDQGM L@9L =@JAF?=J #!+ 9F<" 6 02 +OGJC IMAL=O=DD
and can be purchased at local music stores and from various on-line vendors for around $100. If you
HJ=>=JLG;GFF=;LQGMJEA; NA9 31 GJ$AJ=OAJ= K=N=J9DE9FM>9;LMJ=JK+ M<AG # +M 9F< DM=;GE=LG
mind) offer XLR to USB and XLR to Firewire converters starting at under $50).

Setting Up the Mic


Place the microphone as close as possible to the position you will occupy when monitoring so that it
@=9JK O@9LQGM OADD @=9J  'F ;9K=K O@=J=QGM 9J=;9DA:J9LAF?LOG G>L@= K9E=KH=9C=JK  9F< :GL@ 9J=
HD9;=<AFKAEAD9JDG;9LAGFKAFL@=JGGE QGM ;9F;9DA:J9L=:GL@L@=D=>L9F<JA?@L;@9FF=DKKAEMDL9F=GMKDQ '>
QGMYF<QGMJK=D>AF 9KALM9LAGFO@=J=L@=KH=9C=JKOADD:=9>>=;L=<<A>>=J=FLDQ:QL@=AJAF<ANA<M9DHD9;=E=FL
AFL@=JGGETGF=AKKMKH=F<AF?>JGEL@=;=ADAF?AF9;GJF=J9F<L@=GL@=JAKKALLAF?GF9K@=D> >GJ=P9EHD=
TGJ GF=AKKA?FAY;9FLDQ;DGK=JLGQGMJ EGFALGJAF?HGKALAGFL@9FL@=GL@=JTO=J=;GEE=F<H=J>GJEAF?9F
individual calibration for each speaker.

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Chapter 21 Remote Interface Software

Setting Up the Client Software for Calibration


$GJ L@==P9EHD=:=DGO D=LXK 9KKME= L@9LQGM 9J=;9DA:J9LAF?QGMJ KLM<AGEGFALGJK  O@A;@ 9J=:=AF?>=<
audio from the Speaker Output portion of Omnia.9’s Monitor Outputs. We will also assume that you are in
9KALM9LAGF O@=J=QGM ;9FMK=L@=K9E=;9DA:J9LAGF K=LLAF?K>GJ:GL@KH=9C=JK  Q<=>9MDL L@=H9J9E=LJA;
#/ K=;LAGF AK K=L MH AF L@= U;GEEGFV EG<=  O@A;@ E=9FK ;@9F?=K E9<=LG L@= D=>L ;@9FF=D OADD :=
mirrored in the right channel.

Connect the Client PC and the Calibrated Mic


2@= YJKL KL=H LG ;9DA:J9LAGF AK E9CAF? KMJ= QGM @9N= 9 J=EGL= ;GFF=;LAGF LG QGMJ -EFA9  H=J L@=
instructions at the beginning of this manual.

-F;=;GFF=;L=< HDM?QGMJ;9DA:J9L=<EA; AFLGL@=J=EGL=.! AFKL9DD9FQF=;=KK9JQKG>LO9J=GJ <JAN=JK 


and establish that it is working properly in Windows.

Set Up RTA and Oscilloscope Display Windows


>L=JEA;JGH@GF=AFKL9DD9LAGF9F<K=LMH 9J=;GEHD=L= QGMOADDF==<LGE9C=KMJ=QGM @9N=L@=029F<
the oscilloscope set up in a Display Window.

'> 9F 02 AK FGL 9DJ=9<Q NAKA:D=  K=D=;L 9FQ G> L@= ;MJJ=FL <AKHD9Q OAF<GOK .JG;=KKAF? +=L=JK  3F<G
+=L=JK =L;  LG:JAF?MH 9 "AKHD9Q 1=LLAF?K E=FM 1=LMH GF=G>L@=OAF<GOKLGEGFALGJ L@=!DA=FL+A;
AFHML>GJ=P9EHD= "AKHD9Q 02 '- !DA=FL+A;'FHML 

 G;L9N=J=KGDMLAGF OADDHJGNA<=EGJ=G>9 U:A?HA;LMJ=VGN=JNA=O O@AD=L@= G;L9N=OADDA<=FLA>QEGJ=


KH=;AY; H=9CK9F<N9DD=QK 5=KM??=KL9FN=J9?=K=LLAF?G> 9F<9 29J?=L09F?=G> < 7GM OADD
F==< LG 9<BMKL L@= 29J?=L 9F< 09F?= ;GFLJGDK >GJ QGMJ AF<ANA<M9D KALM9LAGF GF;= QGM @9N= HAFC FGAK=
running through the speakers at a reasonable volume.

We also recommend setting up an Oscilloscope menu in the same manner so that you can watch for any
;DAHHAF?L@9LE9Q G;;MJ K@GMD<QGM F==<LGE9C=9FQ KA?FAY;9FL:GGKL LG9 H9JLA;MD9J H9JLG>L@=9M<AG
KH=;LJME <MJAF?;9DA:J9LAGF '> QGM K== GJ @=9J  9FQ ;DAHHAF?<MJAF?L@= HJG;=KK LMJF <GOF L@= Master
Gain control in the Main 1 menu.

Feeding Pink Noise To the Speakers


$JGEL@=&GE=E=FM K=D=;LClient Audio Client Microphone Input L@=FInput Device from the Home
menu of the Omnia.9 client software on the remote PC. Your calibrated mic should be available in the
device menu. You may need to refresh the list to make it visible.

Return to the HomeE=FM K=D=;LMonitor Outputs L@=FSpeaker Output L@=FMain 1. Turn down the
1H=9C=J 4GDME=LG9 >9AJDQ DGO D=N=D L@=F =F9:D=.AFC ,GAK=>GJ L@= D=>L;@9FF=D 2MJF MHL@=1H=9C=J
4GDME==FGM?@ LG:JAF?L@=D=N=DG>HAFC FGAK=O=DD9:GN=L@=FGAK=ZGGJG>L@=JGGE 9F<LG9D=N=DL@9L
9HHJGPAE9L=K L@=NGDME= 9LO@A;@ QGM OGMD< FGJE9DDQ DAKL=F LGHJG?J9E E9L=JA9D O@=F 9<BMKLAF?QGMJ
HJG;=KKAF? KQGM 9<BMKL L@=GN=J9DD NGDME= QGM K@GMD<K==L@=02<AKHD9QJ=KHGF<  -J9F?=:9JK AF
L@=1H=9C=J 4GDME=;GFLJGD OADDAF<A;9L=O@=F L@=1H=9C=J -MLHMLDAEAL=J AK9;LAN=9F<L@=+9KL=J %9AF
level should be reduced accordingly.

Final Adjustments to the RTA


-F;=QGM@9N==KL9:DAK@=<9FGN=J9DDHAFC FGAK=D=N=D 9<BMKLL@=Range control so that you can see the
=FLAJ=KH=;LJME=9KADQGFL@=<AKHD9Q FGJE9DDQAFL@=NA;AFALQG>T< 

<BMKL L@= Target control so that the band with the lowest level (not counting very low or very high
frequencies that are clearly beyond the ability of the speaker to reproduce) is situated at the top of the

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Chapter 21 Remote Interface Software

:JA?@LJ=<L9J?=LOAF<GO 2@AKOADD9DDGOQGMLGJ=<M;= J9L@=JL@9F:GGKL EGKLG>L@=>J=IM=F;A=KOAL@L@=


parametric EQ.

5@=F J=9<AF? L@= 02  AL AK AEHGJL9FL LG CFGO O@9L H=9CK 9F< <AHK 9J= 9;LM9D J=HJ=K=FL9LAGFK G>
“problem areas” with the speaker/room combination and which are microphone placement anomalies. If
QGMEGN=L@=EA;JGH@GF=BMKLKDA?@LDQ9F<L@=HJG:D=E9J=9 E9?A;9DDQ;GJJ=;LK ALK=D> QGMXJ=K==AF?KM;@
9 HD9;=E=FL KC=O=<J=9<AF? DALLD==PH=JAE=FL9LAGF OADDIMA;CDQJ=N=9D L@AK -F;=QGM @9N=YF9DAR=<L@=
EA;HD9;=E=FL ALXKLAE=LG:=?AF;GJJ=;LAF?L@AF?KOAL@L@=.#/

Using the Parametric EQ to Smooth Things Out


+=L@G<K G> =IM9DARAF?KH=9C=JKAF L@=AJ JGGEKN9JQ  :ML?=F=J9DDQKH=9CAF? MKAF?L@=>=O=KLFME:=JG>
bands of EQ to achieve the desired result is preferred. Cutting (reducing) frequencies is usually preferred
LG :GGKLAF? AF;J=9KAF?  L@=E  9DL@GM?@ KGE=LAE=K :GGKLAF? 9 ;=JL9AF J9F?= AK FGL =9KADQ 9NGA<=< 
0=E=E:=JL@9LL@=J=9J=9LGL9DG>9N9AD9:D=:9F<KG>#/ 9N9AD9:D=LGQGMTAFL@=EQ1 menu and 6
more in the EQ2 menu.

5= 9KKME= L@9L A> QGMXN= ?GLL=F L@AK >9J QGM @9N=9 ?=F=J9D A<=9 G> @GO L@=;GFLJGDKG> 9 H9J9E=LJA;
=IM9DAR=JOGJC :ML9K9IMA;CJ=NA=O

S The Gain ;GFLJGD <=L=JEAF=K@GOEM;@ L@=KH=;AY=<>J=IM=F;Q J9F?=AK 9EHDAY=<GJ 9LL=FM9L=< 


=PHJ=KK=<AF<=;A:=DK

S The Bandwidth ;GFLJGD <=L=JEAF=K @GO OA<=GJ F9JJGO 9 J9F?=G> >J=IM=F;A=K OADD := 9>>=;L=< 
measured in octaves.

S The Center Frequency ;GFLJGD <=L=JEAF=K O@9L >J=IM=F;QOADD DA=AF L@=EA<<D=G>L@=9<BMKLE=FL


;MJN= =PHJ=KK=<AF&R 

You will be able to identify where your speakers start to roll off in terms of frequency response (especially
GFL@=DGO=F< HJ=LLQIMA;CDQ 7GM;9FXLGN=J;GE=HMJ=H@QKA;KOAL@9F=IM9DAR=J 9F<KE9DDKH=9C=JKOADD
F=N=JJ=HJG<M;=:9KKOAL@L@=K9E=9ML@GJALQ9KD9J?=JGF=K KGL@=J=XKFGHGAFLAF LJQAF?LG?AN=9< 
:GGKL9L&RLGKE9DD EGFALGJKAF L@=@GH=KL@9L QGMXDD ?=LL@==IMAN9D=FL G> 9 >J==KM:OGG>=J 5@9LXK
frequently more effective with bass-shy speakers is taming the often over-boosted mid-bass that
manufacturers dial in in the hopes that you think you have more low end than you do).

K QGM KLM<Q L@=02  O= J=;GEE=F< A<=FLA>QAF? 9F< ;GJJ=;LAF?9FQ ?D9JAF? H=9CK GJ N9DD=QK GN=J 9
J=D9LAN=DQ F9JJGOJ9F?=KG> >J=IM=F;A=K YJKLLGL9C=;9J=G> 9FQU@GLKHGLK V2@=F OGJC QGMJO9Q GMLLG
making broader changes to the overall curve.

Chasing Your Tail


1H=9C=J ;9DA:J9LAGF ;9F := 9 >JMKLJ9LAF? HJG;=KK  =KH=;A9DDQ A> L@AK AK QGMJ YJKL ?G 9JGMF< OAL@ AL 
1GE=LAE=KALXKDAC=KIM==RAF?9 :9DDGGF5@=F QGM KIMAK@ GF==F< L@=GL@=J=F<HM>>KGML 1GAL?G=K
OAL@;9DA:J9LAGF +9C=9:GGKLLGGF=>J=IM=F;Q 9F<L@=KMJJGMF<AF?>J=IM=F;A=K?GMH LGG 

#PH=JAE=FLAF?OAL@L@=;=FL=J>J=IM=F;Q9F<:9F<OA<L@;GFLJGDKOADD@=DH 9KOADD9 ?GG<<GK=G>H9LA=F;=


and allotting enough time to do it up right. Your efforts will be rewarded when you play music through your
;9DA:J9L=< K=LMH  >GJ L@= YJKL LAE= 9F< OGF<=J A> KGE=GF= KO9HH=< GML QGMJ LAJ=< GD< EGFALGJK OAL@
KGE=L@AF?F=O9F<EM;@EGJ==PH=FKAN=

Saving Your Calibration Settings


You can save your calibration settings in the form of a preset by going to the Save Preset menu and
LQHAF?AF 9 >JA=F<DQ F9E=>GJ QGMJ YD=  HJ=>=J9:DQ GF= L@9LMFAIM=DQ A<=FLAY=K L@=KH=9C=JK 9F<DG;9LAGF
(“JBL 4312 FM Air”).

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Chapter 21 Remote Interface Software

Tweaking After Calibration


7GM E9Q FGLA;= L@9LO@AD=QGMJ KH=9C=JK KGMF<KA?FAY;9FLDQ :=LL=J L@9F L@=Q <A< :=>GJ=QGM ;9DA:J9L=<
L@=E 9F<L@=Q9J=L=;@FA;9DDQEM;@ EGJ=9;;MJ9L= L@=QKGMF<9DALLD=L@AF AF L@=DGO=F<9F<9DALLD=<MDD
in the highs because of the way the human ear perceives sound at the far ends of our hearing range.

5= KM??=KL L@9L AFKL=9< G> E9CAF? ;@9F?=K LGL@=#/K=;LAGFK  QGM MK= -EFA9 XK Loudness 1 and
Loudness 2 E=FMKLGE9C=KM:B=;LAN=9<BMKLE=FLK 2@=K=E=FMK=9;@ ?AN=QGML@J==9<<ALAGF9D:9F<K
G>>MDDQH9J9E=LJA;=IM9DAR9LAGF

'><=KAJ=< L@=Q9DKG9DDGO QGM LG9<BMKL9L O@9LHGAFLGF L@= 1H=9C=J 4GDME=;GFLJGD L@=;@9F?=K L9C=
affect (since our ears are less sensitive to certain frequencies at lower volume levels).

S The Minimum slider on each EQ band sets the point on the volume control where the EQ has no
effect on the sound.

S The Maximum slider sets the point on the volume control where the EQ in that band is in full effect
(boosted or cut to whatever gain level you have set).

$GJ=P9EHD= A>L@=Minimum KDA<=JAKK=LLG < L@=Maximum AKK=LLG < 9F<L@=Gain is set to


EAFMK < =IM9DAR9LAGF OADD :=?AF LGL9C==>>=;LO@=F L@=NGDME=;GFLJGDAK K=LLG < 9F< OADD :=
attenuated by 5dB by the time the control is set to -10dB.

'>L@=EAFAEME9F<E9PAEMEN9DM=K9J=L@=K9E= L@=DGM<F=KK;GFLJGDK>MF;LAGF9K9FGJE9DH9J9E=LJA;
=IM9DAR=JAF<=H=F<=FLG>L@=NGDME=K=LLAF? 

170
Chapter 22 Frequently Asked Questions (FAQ)

Chapter 22
Frequently Asked Questions
(FAQ)
Answering your questions before you even ask them.

171
Chapter 22 Frequently Asked Questions (FAQ)

Frequently Asked Questions (FAQ)

How do the physical rear panel inputs relate to the various processing cores?
A fully-optioned Omnia.9 can take in three independent audio sources via its physical rear panel inputs.
Each physical input is then assigned to an internal signal path within Omnia.9 in the System > I/O
Options > Input 1/2/3 menus.

)==H AF EAF<L@9LAF<ANA<M9DHJG;=KKAF?;GJ=KEMKL:==F9:D=< <AK9:D=< 9F<;GFY?MJ=<AF L@=System >


'GAB3; =<L5$@=13AA7<5=@3AE=FM 9F<GFDQGHLAGFKL@9L@9N=:==F HMJ;@9K=<9F<AFKL9DD=<AF
your particular Omnia.9 will be available.

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Chapter 22 Frequently Asked Questions (FAQ)

2@GM?@ L@=J=9J H9F=D<A?AL9D AFHMLK9J=D9:=D=<U+9AF 'F VU#10=>=J=F;= V9F<UMP'FVAF9F =>>GJLLG


J=HJ=K=FL9LQHA;9DAFKL9DD9LAGFK;=F9JAG L@=Q9J=AF>9;L9DDA<=FLA;9D9F<AFL=J;@9F?=9:D=

-F= AEHGJL9FLL@AF?LGMF<=JKL9F<AK @GO =9;@ 9M<AGKGMJ;=AK UK@9J=<VOAL@AF L@=MFAL ?9AF MKAF?9


>MDDQ GHLAGF=< MFAL >GJ ADDMKLJ9LAGF  9M<AG <=KLAF=< >GJ L@= $+ HJG;=KKGJ AK 9DKG K@9J=< :Q L@= &"  
1LJ=9EAF? 9F<1LM<AG;GJ=K M<AG<=KLAF=<>GJ&"  AKK@9J=<:QL@=1LJ=9EAF? ;GJ= O@AD=9M<AG
for the HD-3 feed is shared by the Streaming 3 core.

Which rear panel output should I use?


2@=;@GA;=G>O@A;@J=9JH9F=DGMLHMLKLGMK=OADD<=H=F<MHGFL@=;GFY?MJ9LAGFG>QGMJH9JLA;MD9JHD9FL 

In an all-digital plant where Omnia.9 is located at the studio and feeding AES audio to an STL with AES
AFHMLK GMLHML 9M<AGK@GMD<;GE=>JGE L@=+9AF $+-ML +9AF $+-ML  9F<MP -MLGMLHMLK 2@=
source of the processed audio for each of these outputs is determined in the System > I/O Options >
Main Outputs menu.

$GJ=P9EHD= L@=+9AF $+-ML EA?@L:=K=LLGU$+.J= =EH@ *0VAF GJ<=J LGGMLHMLHJ= =EH@9KAR=<


9M<AG>GJ L@=E9AF$+;@9FF=DO@A;@ OADD:=<= =EH@9KAR=<D9L=J AF L@=;@9AF +9AF $+-ML EA?@L:=
K=LLGU&" VLGJGML=9M<AG<=KLAF=<>GJ L@=&"  H9L@ MP -ML E9Q:=K=LLGU&" V >GJ 9M<AG:=AF?
sent to the HD-2 path.

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Chapter 22 Frequently Asked Questions (FAQ)

'>-EFA9  AKDG;9L=<9LL@=LJ9FKEALL=J GF=G>L@=LOGJ=9JH9F=D;GEHGKAL=GMLHMLK;9F:=MK=<LG>==<


L@=E9AF $+9M<AG <AJ=;LDQLGL@==P;AL=J 2@AKAK9DKGLJM=A>-EFA9  AK DG;9L=<9LL@=KLM<AG >==<AF?9
;GEHGKAL=12*  'FL@=K=;9K=K 9<BMKLE=FLKLGL@=GMLHML9J=E9<=AF L@=System > I/O Options > FM
Options menu.

How do I set input levels?


Input levels are set in the System > I/O Options > Source Adjustment menu.

How do I set output levels?


'>QGM 9J=MKAF?-EFA9 XK<A?AL9DGMLHMLK D=N=DK9J=K=LAF AF L@=System > I/O Options > Main Outputs
menu.

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Chapter 22 Frequently Asked Questions (FAQ)

'>QGM9J=MKAF?L@=;GEHGKAL=GMLHMLK D=N=DK9J=K=LAFL@=System > I/O Options > FM Options menu.

Where is the diversity delay?


Omnia.9 provides a “diversity delay” so that FM audio can be delayed and time-aligned to corresponding
&"  9M<AG =FKMJAF? DAKL=F=JK OAL@ &" J9<AGK OADD =PH=JA=F;= 9 KEGGL@ LJ9FKALAGF O@=F L@=AJ J=;=AN=JK
switch back and forth between the analog and digital signals.

This control has been relocated in this version of the software and is now found in the System > I/O
Options > Diversity Delay menu. Double-clicking on the slider will bring up three independent sliders for
!G9JK= +=<AME9F<$AF=9<BMKLE=FL

175
Chapter 22 Frequently Asked Questions (FAQ)

I’m having difficulty getting my Omnia.9 on my local network. I can’t “ping”


it either.
K9 K=;MJALQ E=9KMJ=  -EFA9  AKFGLUHAF? 9:D=VGF L@=F=LOGJC KGL@=AF9:ADALQ LG?=L LJ9<ALAGF9D HAF?
response is not necessarily a sign of a problem.

There are two basic conditions that must be met before a remote connection to Omnia.9 is possible:

S Omnia.9 must have a password set up via the front panel.

S Omnia.9 must be connected to your local network and have a working IP address initially assigned
to it via DHCP (a static address can be established later).
S Note: It is not necessary to “white list” a computer in order to access Omnia.9 remotely. Any
computer running the NfRemote software can access Omnia.9 providing the user knows the
D=8COB?0BBF>A3 -78C4;8BC8=6 *A4@D8A43C>0224BBC741D8;C8=++'B4AE4A7>F4E4A

2GK=LMH9H9KKOGJ< F9NA?9L=LGL@='GAB3;'GAB3; =<L5$/AAE=@2menu from the front panel.


#FL=J QGMJ H9KKOGJ< AF L@= U#FL=J .9KKOGJ<V 9F< U0=H=9L .9KKOGJ<V Y=D<K 9F< ;DA;C GF L@= U1=L
Password” button.

176
Chapter 22 Frequently Asked Questions (FAQ)

2GK=LMH 9F '.9<<J=KK F9NA?9L=LGL@='GAB3; 'GAB3; =<L5 $=<L5C@/B7=<menu from the


>JGFLH9F=D !DA;C GFU3K="&!.VLG=F9:D=-EFA9 LGJ=;=AN=9F'.9<<J=KK>JGEQGMJ"&!.K=JN=J '> 
9>L=J 9 H=JAG< G>   K=;GF<K  L@= AFL=JF9D DGGH:9;C 9<<J=KK AK KLADD <AKHD9Q=<   -EFA9  AKFXL
;GEEMFA;9LAF?OAL@L@="&!.K=JN=JK9F<L@=J=9J=F=LOGJCAKKM=KGMLKA<=G>L@=MFALLG=PHDGJ= 

5@AD=ALAK:=QGF<L@=K;GH=G>L@AKE9FM9DLGHJGNA<=KH=;AY; '.LJGM:D=K@GGLAF?9<NAK= O=;9F KM??=KL


the following basic steps:

S Try using a different Ethernet cable to rule out that a bad cable is at fault.

S Plug Omnia.9 into a different port on your router or switch to rule out a bad port.

S Plug Omnia.9 into a different router or switch altogether to eliminate a bad piece of hardware.

S Plug another device (such as a laptop computer) into the same port and see if it will communicate
with the DHCP server.

177
Chapter 22 Frequently Asked Questions (FAQ)

S 3KAF?9;GEHML=JL@9LAK9DJ=9<QCFGOF LGOGJC GF L@=F=LOGJC MK=9F#L@=JF=L;9:D=LG;GFF=;L


-EFA9  <AJ=;LDQLGL@9L;GEHML=J 'FEGKL;9K=K L@=;GEHML=J OADD 9;L9K9F 9< @G; "&!. K=JN=J
and attempt to assign Omnia.9 an IP address.

Where do I get a copy of the remote software?


The remote software client (NfRemote) is always available from within Omnia.9 itself and can be retrieved
using the built-in HTTP server. Any time you update your Omnia.9 software it is a good idea to update
your NfRemote software as well to ensure compatibility.

The computer used to access the HTTP server must be on Omnia.9’s “white list” and Omnia.9 must be
K=LMH HJGH=JDQ GF QGMJ DG;9D F=LOGJC   2GHD9;= 9 ;GEHML=J GF L@= O@AL=DAKL  F9NA?9L= LG System >
'GAB3;=<L5(($113AA and enter the IP address and subnet mask in the format shown below.

Using a web browser of your choice (and the actual IP address of your Omnia.9 to replace the sample
9<<J=KK @=J=  =FL=J Uhttp://192.168.1.1:7380”. This will bring up the HTTP server home page which
;GFL9AFK 9 DAFC LG L@= ,>0=EGL= KG>LO9J=  "GOFDG9<  DG;9L= 9F< AFKL9DD L@= KG>LO9J=  -F;= AFKL9DD=< 
9KKA?F 9 U>JA=F<DQVF9E=G>QGMJ ;@GA;=AF L@=U!GEE=FLVY=D< =FL=JL@='. 9<<J=KK9F<H9KKOGJ< 9F<
click “Connect”.

178
Chapter 23 Signal Path Diagrams

Chapter 23
Signal Path Diagrams
Morbidly curious? Want to look smart in front of
co-workers by staring intently at block diagrams?

This chapter is for you.

179
Chapter 23 Signal Path Diagrams

Signal Path Diagrams

+9FQ MK=JK G> L@=-EFA9  OADD := ;GFL=FL OAL@ HDM??AF?ALAF  E9CAF? L@= F=;=KK9JQ '- ;GFF=;LAGFK 
HA;CAF?9 HJ=K=L  L@=F KALLAF?:9;C LG=FBGQ L@=9E9RAF?9MJ9D <=DA?@LK9F<=>>GJLD=KK <A9D <GEAF9F;= AL
provides.

Some will want to make changes to achieve a truly custom sound.

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;GFLJGDL@=J=9J=F=9JDQ  HGAFLKG>9<BMKLE=FLO@=F 9DD>=9LMJ=K9F<;GJ=K9J=9;LAN=T:=KLLGHMDD
up a comfy chair and get a pot of coffee going).

And then there are those who will want to know more about how stuff gets done (you know who you are).
'L AK >GJ L@9L ;JGO< L@9L O= @9N= HJGNA<=<L@=>GDDGOAF?ZGO;@9JLK K@GOAF? N9JAGMK KA?F9D H9L@K OAL@AF
Omnia.9.

180
Chapter 23 Signal Path Diagrams

Physical Inputs

181
Chapter 23 Signal Path Diagrams

Input / Output Overview

182
Chapter 23 Signal Path Diagrams

Input Section

MPX Input

MPX Output

183
Chapter 23 Signal Path Diagrams

MPX Patch Point

184
Chapter 23 Signal Path Diagrams

Pre-emphasis Patch Point

185
Chapter 23 Signal Path Diagrams

Undo

186
Chapter 23 Signal Path Diagrams

Input AGC/WB AGC1

187
Chapter 23 Signal Path Diagrams

WB AGC2 / AGC3 Post-Multiband

188
Chapter 23 Signal Path Diagrams

WB AGC2 / AGC3 Bass Wideband

189
Chapter 23 Signal Path Diagrams

WB AGC2 / AGC3 Bass Only

190
Chapter 23 Signal Path Diagrams

Multiband Processing

191
Chapter 23 Signal Path Diagrams

Speaker Controller

192
6/>B3@ '>317L1/B7=<A+/@@/<BG

Chapter 24
1H=;AY;9LAGFs
)8E4C8=60=32><?4;;8=6502CB0=3P6DA4B

193
6/>B3@ '>317L1/B7=<A+/@@/<BG

Specifications

.J=DAEAF9JQKH=;AY;9LAGFK9LL@=LAE=L@AKE9FM9DO9KHJAFL=<9J=HJGNA<=<@=J=

Frequency Response
S
  < &RLGC&R C&RAF=PL=F<=<EG<=

Signal-to-Noise Ratio
S %J=9L=JL@9F < M<= =EH@9KAR=< &RLGC&R

System Distortion
S *=KKL@9F 2&":=DGOHJ= =EH@9KAKAF9M<A:D=9:GN=

Stereo Separation
S < EAFAEME &RLGC&R< LQHA;9D

Average Temperature in Thailand in December


S 77 F (25 C)

Digital Output Level


S <BMKL9:D=>JGE < $1LG < $1AF < AF;J=E=FLK

Stereo Baseband Output


S <BMKL9:D=>JGE  < $1LG < $1AF < AF;J=E=FLK

A/D Conversion
S !JQKL9D1=EA;GF<M;LGJ!  :ALPGN=J K9EHD=<
S "=DL9KA?E9;GFN=JL=JOAL@DAF=9J H@9K=9F<9FLA 9DA9KAF?YDL=J
S .J= "!9FLA 9DA9KYDL=JOAL@@A?@ H9KKYDL=J9L&R
S +.6'FHMLK@9N=@A?@H9KKYDL=J &R

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S #PL=JF9DKQF;AFHML
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S MPX Outputs are DC coupled

Distance from Earth to Moon


S  EAD=K

#PL=JF9D1QF;09F?=
S  C&RGJC&R

Inputs/Outputs
S 9D9F;=< #+' YDL=J=< *09F9DG?AFHML9F<GMLHML;GFF=;LGJK
S #10=>=J=F;='FHML +9AF "A?AL9D'FHML MP"A?AL9D'FHML +9AF $+-MLHML +9AF $+-MLHML 
9F<MP-MLHMLGF 6*0;GFF=;LGJK AF;DM<AF?J=;G?FALAGFG>=PL=JF9DKQF;KA?F9DGF#10=>=J=F;=
'FHML  +9AF 9F< MPADA9JQ <A?AL9D AFHMLK 9;;=HL K9EHD= J9L=K :=LO==F C&R T C&R 9F< @9N=
sample rate converters.
S Shared Ethernet/Livewire RJ-45 port supporting 100 and 1000 BASE-T Ethernet.

194
6/>B3@ '>317L1/B7=<A+/@@/<BG

Power Requirements
S  4!  &R 9MLG K=FKAF?
S Power Connector
S '#!E9D=<=L9;@9:D= OAJ=HGO=J;GJ<KKMHHDA=<

Power Supply
S Dual internal redundant hot-swappable supplies.

Environmental
S -H=J9LAF?L=EH=J9LMJ=J9F?=LG<=?J==K!T<=?J==K$
S ,GF GH=J9LAF?L=EH=J9LMJ=J9F?= LG<=?J==K!+AFMKT<=?J==K$
S 'F,GJL@E=JA;9 <=KA?F=<LG;GEHDQOAL@L@=DAEALK>GJ 9!D9KK<A?AL9D<=NA;=HMJKM9FLLG.9JL
of the FCC Rules (CFR). Designed for U.S. and Canadian listing with UL.
S 'F#MJGH= <=KA?F=<LG;GEHDQOAL@L@=J=IMAJ=E=FLKG>*GO4GDL9?="AJ=;LAN=##!9F<#+!
Directive 89/336/EEC.
S Designed for RoHS and WEEE compliance.

Percentage of People Who Read Product Manuals Cover to Cover


S 0.00003%

Telos Alliance Limited Warranty

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;GEH9FA=K ;GDD=;LAN=DQ<GAF?:MKAF=KK9K2@=2=DGKDDA9F;=@=J=AF9>L=JU2=DGKV

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9F<OGJCE9FK@AH >GJ 9 H=JAG<G>YN=  Q=9JK>JGEL@=<9L=G>J=;=AHLG>KM;@ .JG<M;L:QL@==F< MK=J
(such date of receipt the “Receipt Date”). Software-only items are warranted to be free from defects in
material and workmanship for a period of 90 days from the Receipt Date. Telos will repair or replace (in
ALK <AK;J=LAGF  <=>=;LAN=.JG<M;LKJ=LMJF=< LG2=DGK OAL@AF L@= O9JJ9FLQ H=JAG<  KM:B=;LLG L@= HJGNAKAGFK
and limitations set forth herein.

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AF;DM<AF?OAL@GMLDAEAL9LAGF DA?@LFAF?KLJAC=KGJ J=KMDL9FLHGO=JKMJ?=KAA  @9K:==F AEHJGH=JDQAFKL9DD=<
GJ EAKMK=<  AF;DM<AF? OAL@GML DAEAL9LAGF  L@= >9ADMJ= LG MK= L=D=H@GF= 9F< HGO=J DAF= KMJ?= HJGL=;LAGF
<=NA;=KAAA @9K:==F<9E9?=<:Q9;;A<=FLGJF=?D=;L KOAL@9DDK=FKALAN==D=;LJGFA; =IMAHE=FL LG@=DH
HJ=N=FL<9E9?=9F<GJ DGKKG><9L9 O=KLJGF?DQJ=;GEE=F<L@=MK=G>9FMFAFL=JJMHLA:D=HGO=J KMHHDQ
(UPS) with all of our Products. Telos products are to be used with registered protective interface devices
which satisfy regulatory requirements in their country of use.

This Warranty is void if the associated equipment was purchased or otherwise obtained through sales
;@9FF=DKFGL9ML@GJAR=<:Q2=DGK

#6!#.2 $-0 2&#  -4# 122#" #6.0#11 500,27  2#*-1 +)#1 ,-  500,2'#1 
EXPRESS OR IMPLIED (INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
FOR A PARTICULAR PURPOSE).

195
6/>B3@ '>317L1/B7=<A+/@@/<BG

'F FG =N=FL OADD 2=DGK  ALK <AJ=;LGJK  G>Y;=JK  =EHDGQ==K  9?=FLK  GOF=JK  ;GFKMDL9FLK GJ 9<NAKGJK ALK
U>YDA9L=KV  GJ 9ML@GJAR=< <=9D=JK GJ L@=AJ J=KH=;LAN=>YDA9L=K  := DA9:D=>GJ AF;A<=FL9D GJ ;GFK=IM=FLA9D
<9E9?=K GJ>GJ DGKK <9E9?= GJ=PH=FK=<AJ=;LDQGJAF<AJ=;LDQ9JAKAF?>JGEL@=MK=G>9FQ.JG<M;LGJL@=
AF9:ADALQLGMK=9FQ.JG<M;L=AL@=JK=H9J9L=DQGJAF ;GE:AF9LAGF OAL@ GL@=J =IMAHE=FLGJE9L=JA9DK GJ>JGE
any other cause.

'F GJ<=J LG AFNGC= L@AK 59JJ9FLQ  L@= .JG<M;L EMKL := J=?AKL=J=< NA9 2=DGKX O=:KAL= >GMF< 9L http://
telosalliance.com/legal/warranty) at time of receipt by end-user and notice of a warranty claim must be
J=;=AN=<:Q2=DGKOAL@AFL@=9:GN=KL9L=<O9JJ9FLQH=JAG<9F<O9JJ9FLQ;GN=J9?=EMKL:=9ML@GJAR=<:Q
Telos. Contact may be made via email: support@telosalliance.com or via telephone: (+1) 216-241-7225.
'>2=DGK9ML@GJAR=KL@=H=J>GJE9F;=G>O9JJ9FLQK=JNA;= L@=<=>=;LAN=.JG<M;LEMKL:=<=DAN=J=<LG2=DGK 
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Telos at the time of claim.

Shipping Costs and Warranty Service:

If the date the customer’s notice of warranty claim is received by Telos (such date the “Warranty Claim
,GLA;="9L=V  AK OAL@AF L@=YJKL <9QK >GDDGOAF?L@=0=;=AHL "9L= 2=DGKOADD H9QL@=;GKLKG>K@AHHAF?
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warranted Product.
 
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=F<G>L@=K=;GF<F<  Q=9J L@=;MKLGE=JOADD H9QL@=>J=A?@LLGJ=LMJFL@=O9JJ9FL=<.JG<M;LLG2=DGK 
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9L2=DGKX=PH=FK=  
 
If the Warranty Claim Notice Date occurs between the end of the second (2nd) year following the Receipt
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and servicing of the warranted Product.

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the repair.

196
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197
Omnia.9
All you can imagine. And more.

Manual Addendum for V0.57.38 Software


Revised July 2014
User Manual Addendum

As of this publication, all Omnia.9 products are shipping with V0.57.38 software. This version brings with it
many behind-the-scenes improvements that have allowed us not only to introduce new and exciting
system configurations with this release, but have also paved the way for some exciting future capabilities
and features.

There are also several useful improvements to the user interface that bear mention and explanation, but
not enough to re-write the entire (200 page!) user manual. This brief Manual Addendum will address only
significant differences between the two software versions.

The version of the manual currently available on the Omnia website at http://omniaaudio.com for
V0.56.02 remains the most current iteration of the full documentation. Please bear in mind, however, that
because some of these changes effect the layout and structure of menus and controls, there may be
differences between the screenshots in the manual and what you see on the front panel of your Omnia.9
or in an NfRemote session.

Dual FM Configuration
One of the most significant changes in V0.57.38 is the introduction of the optional “Dual FM” system
configuration which allows Omnia.9 to provide independent processing for two unique FM stations.

When configured in this manner, the first FM processor (FM1) can provide processing for MPX
(composite) only, L/R only, or MPX+L/R together.

The second FM processor (FM2) can provide processing for MPX or L/R, but not for both together.

Improved Display Settings Menu


Omnia.9 can display a large variety of information about incoming and outgoing audio signals, processing
activity, and signal characteristics. V0.57.38 brings about better organization of these many options by
introducing an extra level of categories: Main Meters, Loudness Meters, Modulation Monitor, and
Instruments.

2
Loudness Graphs
Curious as to how consistent your station’s loudness is? Want to compare the loudness of input audio to
output audio? Want to see how loud your customer preset is? Searching for conclusive evidence that your
station is louder than the competition? We’ve got you covered with the introduction of loudness graphs
and logs.

Loudness graphing is disabled by default and must first be enabled by navigating to the Meter Options
menu of EACH processing core - FM, HD, Streaming, and Studio. For example, to enable graphing for
FM, go to FM > Meter Options > Meter Options and check the “Loudness Graph” button.

Which inputs and outputs are available for graphing for each processing core are determined by which
buttons are checked in the left-hand column, such as Program Input, Loudness Match, MPX Output, L/R
Output, MPX Input 1, and MPX Input 2 as shown below.

These selections will then appear as possible sources in the FM > Meter Options > Display Settings >
Source menu. Data sources can be selected in real time and a history is kept for 24 hours.

The integration time for the meters is three seconds using the ITU-R BS.1770 (LKFS) EBU R.128 (LUFS)
algorithm.

Loudness Graph Menu


The Loudness Graph menu can be accessed by navigating to the Display Settings menu of each
particular processing core. In the case of FM, for example, by going to FM > Processing > Display
Settings > Loudness Meter > Loudness Graphs.

3
• The Source dropdown menu selects which source will feed the meter shown in a particular display.
As mentioned earlier, the selection of possible sources is determined by selections in the Meter
Options menu.

• By default, the graphs display data in “relative” time, that is, since the graph was first enabled.
Checking the Absolute Time control changes the display to the actual time as set in the System >
Time/Date menu.

• The X Range control determines how long a period of time is shown in a particular display window.
The most recent information will always be at the far right of the graph, but advancing this control
will show more historical data at once though in less detail.

The exact length of visible time - that is, how much historical data can be displayed - will be
dependent upon how much screen real estate is devoted to the graph. On smaller displays, or if
multiple displays are enabled at once, each display will get less screen space and as a result, less
past data will be visible.

• The History control determines allows you to “travel back in time” anywhere from the present to 24
hours in the past. With the slider set to 0%, the most recent information is displayed. Advancing the
control looks further back in time.

• The Y Zoom control determines the visible range of loudness measurements on the LKFS/LUFS
scale on the left side of the graph. At its default setting of 1.0 X, levels from approximately -30dB to

4
+6dB are displayed. A wider range of levels can be seen by sliding this control to the left, while
sliding the control to the right narrows the range.

• The Y Center control determines which LKFS/LUFS value on the left scale appears centered on
the display. The default setting of 50% places the middle of the graph at -12dB.

MPX Power Graphs


For regions where broadcasters must operate in compliance with the ITU-R BS.412 standards, graphs
for MPX Power are also available.

Just like with loudness graphic, this feature is turned off by default and must be enabled in the FM >
Meter Options > Meter Options menu.

Power Graph Menu


The power graph menu is accessible by navigating to the FM > Processing > Display Settings >
Modulation Monitor > Power Graph menu.

The graph is color coded according to the setting of the “Power Limit” control in the Meter Options menu.
Any changes made to this setting are instantly displayed on the graph for current and historical readings
as show in the images below.

In the top graph, both the processor limit and meter limit controls are set to +3.0. In the bottom graph, the
processor limit is still set for +3.0, but the meter limit is set for +2.0.

Additional Output Assignment


A new output assignment, Pre-final L/R, has been added to the System > I/O Options > Main Outputs
menu. The allows audio just before pre-emphasis and clipping to be routed to any of the rear panel
outputs (Main FM Out 1, Main FM Out 2, Aux Out, or Analog Out). Audio from this output point have been
level-adjusted for 12dB of headroom and are ideal for feeding an external stereo generator, such as the
upcoming Omnia.s9g.

5
This is also the proper output signal to use to feed an Arbitron encoder and subsequently route the
encoded audio back into Omnia.9 just ahead of the final clipper.

Once “Pre-final L/R” has been selected to feed a selected rear panel output, the Input Source, Insert
Mode, and Insert Delay controls in the System > I/O Options > FM Options menu can be used to
properly route audio into and back from the Arbitron encoder and compensate for the latency introduced
by doing so.

• The Insert Source control in the System > I/O Options > FM Options menu determines which
physical output will act as the input source to the Arbitron encoder. Choices include None, Analog,
Main Digital, AES Reference, and Aux Digital.

• The Insert Mode control determines what audio is fed to the Pre-final L/R output. “On” and “Off”
enable and disable insertion respectively. “Blips (Null)” and “Noise (Null)” will feed regular blips or
pink noise to the “Pre-final L/R” output and are used to properly measure and adjust compensation
delay as outlined below.

• The Insert Delay control adjusts the amount of delay. As with all slider-type controls in Omnia.9,
double-clicking (or double-tapping on touch devices) will open an expanded set of controls for
course, medium and fine adjustments making precise adjustment easier.

Adjusting the Delay


In order to properly compensate for the additional delay, it is necessary to determine the exact amount of
latency introduced. Omnia.9 provides the necessary tools to accurately measure and adjust this.

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To monitor the proper patch point, navigate to Monitor Outputs > Speaker Output (or Headphone
Output) > Patch Point > FM > Miscellaneous > Insert Null. This can also be accomplished via the
Client Audio feature of NfRemote.

This patch point takes the audio routed through the “Pre-final L/R” output, adds the amount of
compensation delay as set by the Insert Delay control, subtracts it from whatever is routed through the
currently selected Input Source, and outputs the (hopefully!) nulled result.

Start by listening to either “Blips (Null)” or “Noise (Null)” (“Noise” is arguably the easier of the two
methods) and adjust the delay control while listening for the comb filtering effect. Once you have achieved
the perfect (or near perfect) null, change the Insert Mode to “On” to route on-air audio through the insert
loop. The “Insert Null” patch point remains active and adjustments can be made “live” if desired.

Whenever the Insert Mode is active, you will see an additional label at the top of the Processing Meters
display indicating so. An additional set of Insert meters (which should be in perfect sync with the Out
meters when the null is properly set) provides additional visual verification that the Insert Mode is active.

A broken insert chain will take you off the air! If you see audio on the Out meters but slicence on the
Insert, MPX, or L/R meters, you have an off-air situation.

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Omnia.9
All you can imagine. And more.

Manual Addendum for V3.00.16 Software


Revised August 2014
User Manual Addendum

As of this publication, all Omnia.9 products are shipping with V3.00.16 software. This version incorporates
all of the improvements and features released in V0.57.38 and adds additional refinements and features,
but the big news here is the introduction of Omnia.9 as an AM processor!

This Manual Addendum will address only significant differences between V0.57.38 and V3.00.16.
The version of the manual currently available on the Omnia website at http://omniaaudio.com for
V0.56.02 remains the most current iteration of the full documentation.

Please bear in mind, however, that because some of these changes effect the layout and structure of
menus and controls, and because some features are optional and not found on all units, there may be
differences between the screenshots in the manual and in this addendum compared to what you see on
the front panel of your Omnia.9 or in an NfRemote session.

System-Wide / GUI Updates

Changes outlined in this section apply to system-wide or “global” controls, or to the user interface.

Loudness Graphs
Loudness graphing, introduced in V0.57.38, now offers additional display settings and includes the choice
of either momentary or short-term graphing.

Loudness graphing is disabled by default and must first be enabled by navigating to the Meter Options
menu of EACH processing core - FM, HD, Streaming, and Studio. For example, to enable graphing for
FM, go to FM > Meter Options > Meter Options and check the “Loudness Graph” button.

Which inputs and outputs are available for graphing for each processing core are determined by which
buttons are checked in the left-hand column, such as Program Input, Loudness Match, MPX Output, L/R
Output, MPX Input 1, and MPX Input 2 as shown below.

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These selections will then appear as possible sources in the FM > Meter Options > Display Settings >
Source menu. Data sources can be selected in real time and a history is kept for 24 hours.

The integration time for the meters is three seconds using the ITU-R BS.1770 (LKFS) EBU R.128 (LUFS)
algorithm.

Loudness Graph Menu


The Loudness Graph menu can be accessed by navigating to the Display Settings menu of each
particular processing core. In the case of FM, for example, by going to FM > Processing > Display
Settings > Loudness Meter > Short Term Graph or > Momentary Graph.

Depending upon the display sizing and how many display windows are enabled, the Short Term Graph
will typically show loudness over a period of many minutes. The Momentary Graph will show loudness
over a period of several seconds at a more detailed level.

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• The Source dropdown menu selects which source will feed the meter shown in a particular display.
As mentioned earlier, the selection of possible sources is determined by selections in the Meter
Options menu.

• By default, the graphs display data in Relative time, that is, since the graph was first enabled.
Checking the Absolute Time control changes the display to the actual time as set in the System >
Time/Date menu. Choosing UTC shows readings relative to Coordinated Universal Time (no local
time offset). When connected to Omnia.9 via NfRemote (and not working with the front panel
touchscreen) there is an additional selection, Remote, which is similar to Absolute Time but
references the clock of the PC running the NfRemote software.

• The X Range control determines how long a period of time is shown in a particular display window.
The most recent information will always be at the far right of the graph, but advancing this control
will show more historical data at once though in less detail.

The exact length of visible time - that is, how much historical data can be displayed - will be
dependent upon how much screen real estate is devoted to the graph. On smaller displays, or if
multiple displays are enabled at once, each display will get less screen space and as a result, less
past data will be visible.

• The History control determines allows you to “travel back in time” anywhere from the present to 24
hours in the past. With the slider set to 0%, the most recent information is displayed. Advancing the
control looks further back in time.

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• The Y Zoom control determines the visible range of loudness measurements on the LKFS/LUFS
scale on the left side of the graph. At its default setting of 1.0 X, levels from approximately -30dB to
+6dB are displayed. A wider range of levels can be seen by sliding this control to the left, while
sliding the control to the right narrows the range.

• The Y Center control determines which LKFS/LUFS value on the left scale appears centered on
the display. The default setting of 50% places the middle of the graph at -12dB.

Adjustable Silence Detection Thresholds


Omnia.9 offers the ability to automatically switch to a backup input audio source should the primary
source fail.

The period of time it waits after detecting a loss of primary audio before switching to the backup source
and how long it waits after primary audio returns to switch back are adjustable in the System > I/O
Options > Silence Detection menu by adjusting the Silence Detect and Program Detect controls
respectively.

In V3.00.16, the level below which audio must fall in order to be considered silence is also adjustable.
Because this is feature is available independently for each input source, the new control is located in the
System > I/O Options > Source Adjustment menu.

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• When audio falls below the setting specified in the Silence Threshold control and remains there for
the period of time set in the Silence Detect control, Omnia.9 will switch to the specified backup input
source. Once audio goes above this setting and remains there for the period of time specified in the
Program Detect Control, Omnia.9 will switch the input to the primary audio source.

• The measured presence or absence of signal is indicated below each input.

AM Processing

The addition of optional AM processing is the most significant change offered in the V3.00.16 software
and is included as a standard feature in all Omnia.9 configurations.

• FM-only units can now provide simultaneous processing for FM and AM using the same input audio
source for both paths.

• Dual path units (9x2) will be able to process FM+FM, FM+AM, or FM/AM+FM using either the
primary or secondary input audio source for the AM output.

Enabling the AM Processing Core


To enable AM processing, navigate to the System > System Config > Processing Cores menu.

• The AM dropdown menu has three options. Selection Off disables AM processing completely.
Choosing Primary routes audio from Input 1 to the AM processor (the same audio used for FM/
HD-1) while Secondary routes audio from Input 2 (the audio used for HD-2 or the second FM
processor depending upon options/configuration ) to the AM processor.

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Once AM has been enabled and the configuration applied via the Apply Config button, an additional
menu for AM processing will appear in the Home menu.

All of the processing controls and settings found in other processing cores (FM, HD, Studio, Streaming)
are present here and function in exactly the same way.

AM Output Options
Navigating to the System > I/O Options > AM Options menu displays all of the AM-specific settings and
is broken down into four sub-menus: Main, Night, Phase, and TX Out.

AM Main Menu
The Main Menu contains controls for pre-emphasis, high- and low-pass filters, positive peaks, inverting
the input and output, and for the built-in test generator.

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• The Pre-emphasis dropdown control allows you choose an output with no pre-emphasis (flat), the
standard NRSC profile, 50us, or 75us.

• The High pass dropdown control sets the frequency below which audio will be filtered while the
Low pass control sets the frequency above which audio will be filtered.

• If the symmetry of the incoming program material normally has significant negative peaks, using the
Invert Input control will invert the signal and help match the input audio to the processor. The
Invert Output control works in much the same way but on the output side to help match the output
of the processor with the transmitter.

• The Positive Peaks slider sets the maximum positive peak level. Due to the nature of AM
modulation, it is possible to allow up to 125% modulation for positive peaks, while negative peaks
must be kept at or below 100% to prevent carrier loss as illustrated below:

• The 100% Modulation slider sets final output modulation reference level for the digital outputs. If
the digital outputs are in danger of being overdriven, a red warning message will appear at the top
of the front panel or NfRemote screen indicating this control (or the Positive Peak control) should be
turned down.

• Just as with the FM section of Omnia.9, there is a test generator in the AM section that provides
various tones that are useful for system analysis and setup. Turning on any of the tones in the Test
Generator dropdown menu will interrupt normal program audio.

• Square: A square wave with mild low-pass filtering which can be used to adjust and pre-
compensate for transmitter tilt by connecting an external oscilloscope to the RF sample output
of the transmitter.

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• Sweep: A linear sweep that includes frequencies in the range determined by the settings of the
High Pass and Low Pass filters, and useful for adjusting transmitter EQ.

• 400Hz: The standard 400Hz reference tone.

• 60Hz Sawtooth: Useful for testing system linearity when connecting the output of the
processor to the X input of an “X/Y” ‘scope and connecting the RF sample output of the
transmitter to the Y input.

• 60Hz Sawtooth + Detent: The same signal as the standard 60Hz Sawtooth but with a handy
detent to make finding 50% easier on the ‘scope. (Aren’t we thoughtful?)

• The Test Level slider adjusts the output of the test generator.

• Omnia.9 can accept the output of another processor, allowing it to be used as a delay-
compensated, level-matched switcher between the two devices. When the Air dropdown control is
set to “AM Proc Out”, Omnia.9 is on the air. Setting it to “Test Input” places the other processor on
the air. determines whether the output of the processor or the test generator is fed to the
transmitter. Information about the processor feeding the test input can be viewed on Omnia.9’s
built-in oscilloscope and other analysis tools.

AM Night Menu
When enabled, the Night menu allows unique and independent settings for positive peaks as well as high
pass and low pass frequencies.

Night mode can be turned on manually with the Night Mode control, by setting a time-based event in the
System > Scheduling menu, or by setting a GPI function in the System > GPI > GPI menu.

AM Phase Menu
The Phase Menu contains the controls for the phase scrambler and phase rotator. These operate in the
same manner as the corresponding controls in the FM section of Omnia.9, except here, they are enabled
by default.

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• Certain sounds with high harmonic content (such as trumpets and some synthesized sounds) are
low in energy but contain high peaks. By slightly offsetting these harmonics, the Phase Scrambler
drastically lowers the peak level, which in turn prevents them from having to be dealt with later in
the processing chain by more aggressive means like limiting or clipping. This results in significantly
less audible distortion.

• The Phase Rotator helps deliver more symmetrical peaks and is particularly effective for talk
formats. We recommend monitoring the pre-emphasized or de-emphasized output on Omnia.9’s
built-in oscilloscope and advance the slider just enough to achieve symmetrical peaks.

TX Out Menu
The TX Out menu contains controls used for feeding analog AM transmitters and includes adjustments
for output level, tilt, and equalization.

• The TX Output Level control is the analog equivalent to the 100% Mod control in the Main AM
Options menu and sets final output modulation level for the analog outputs. However, no warning
messages are provided to indicate overdriving the analog outputs.

• The Tilt Compensation control adjusts the amount of outward tilt when viewing a 60Hz square
wave from the built-in tone generator on an external oscilloscope fed from the transmitter’s RF
sample output. This control is set to “Off” by default. Typically, more positive (outward) tilt will be
required which can be achieved by sliding the control to the right, though it is possible to achieve
more negative (inward) tilt by moving the control to the left if needed.

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• The Tilt Coefficient control sets the frequency at which the tilt compensation is applied. The lower
the coefficient setting, the lower the frequency. The 60Hz square wave can also be used here while
the Tilt Coefficient slider is adjusted to yield the flattest response.

• The three-band Parametric Equalizer is provided to offset any characteristics or irregularities of


the analog transmitter or any transformers in line after the Omnia.9.

• The Frequency slider is used to set the center frequency for each band. The range of this
control is 20 to 22,050Hz.

• The Width slider determines how much audio above and below the center frequency will also
be affected by any boosts or cuts in gain. The range of this control is 0.0 to 10.0 octaves in one-
tenth octave increments. Lower values provide a narrower (sharper) boost or cut, while higher
values provide a wider (gentler) boost or cut.

• The Gain slider determines how much the audio selected with a combination of the Frequency
and Width sliders is boosted or cut. Each band can be boosted or cut by 12dB in one-quarter
dB increments for a total range of 24db per band.

• The Phase characteristics of each equalizer is selectable from the associated dropdown menu.
The Phase Forward setting matches the behavior of an analog filter and is most applicable
when pre-compensating for anything downstream caused by a transformer or the transmitter
itself, though both Phase Reverse and Phase Linear options are also provided.

AM Processing Presets
Eight factory presets specifically tuned for AM radio are provided and can be selected in the AM >
Processing > Load Preset menu.

• Eruption employs 7 bands of multiband AGC and limiting and is suitable for general use, especially
music. It employs a tight ratio on the Input AGC to consistently drive the mutliband section which
itself employs a fairly light ratio but faster release times to keep the output and spectral balance
consistent. It also makes use of Wideband AGC 2 in Bass Only mode for enhanced low end.

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• Fine Arts is similar to the Classical/Jazz preset found in Omnia.9’s FM, HD, Streaming, and Studio
processing cores. As a three-band preset, it provides gentle spectral re-equalization and delivers an
output that is more faithful to the sound of the input than other presets.

• Fire and Brimstone is a loud 6-band preset with more mid-range presence than Eruption. It is
suitable for most music formats or for talk stations that are looking for more loudness.

• Flamethrower is very similar to Fire and Brimstone and matches its loudness but with less mid-
bass and less highs. It is the default preset.

• Fortress is a loud and warm-sounding 7-band preset with fast Input AGC attack and release rates.
It adds the Wideband AGC 1 compressor on top of the Input AGC to build more wideband density
and uses a much faster Progressive Release rate in the multiband section. It also pushes the bass
clipper harder for a punchier low end.

• Gold is a warm, open, smooth-sounding preset that works well with music from different decades. It
uses relatively slow multiband attack and release rates to provide gentle automatic spectral re-
equalization.

• Soapbox is tuned especially for talk radio formats. It uses a loose multiband ratio to help preserve
the natural dynamics of speech and builds loudness in the final clipper. It also has a boost in the
upper frequencies to make speech more intelligible and uses higher gate and freeze thresholds to
ensure pauses between speech don’t cause unwanted noise rush-up.

• Touchdown is ideal for sports programming. Like Soapbox, it uses higher gate and freeze
thresholds to keep things like crowd noise from building up during pauses, but it drives the
multiband AGC section more aggressively and employs much faster mutliband attack and release
times. It is also less bright than Soapbox and pushes the mid-frequencies more toward the front of
the mix.

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