Professional Documents
Culture Documents
9
All you can imagine. And more.
Table of Contents
Chapter 10: FM Menu - Processing for ITU-R BS.412 / MPX Power Limiting� Page 69
2
Getting the Most From This Manual
3
Getting the Most From This Manual
S -EFA9
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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.
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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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 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
5
Chapter 1: The Omnia.9 Story
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.
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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6
Chapter 1: The Omnia.9 Story
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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7
Chapter 2: Quick Startup Guide
Chapter 2
Quick Startup Guide
In a hurry to get your Omnia.9 on the air?
We understand.
8
Chapter 2: Quick Startup 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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It is always possible for a supply to fail and so having redundant supplies does help protect you against
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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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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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10
Chapter 2: Quick Startup Guide
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sliders to set the input levels. When driving the input with typical program material at normal operating
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options.
Note: Omnia.9 contains a relay-bypass feature that allows unprocessed audio to pass directly
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This includes when the unit loses power, is in the start-up process, or must re-initialize its software
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When engaged, the bypass relays hard wire the following inputs to outputs:
11
Chapter 3: General Processing Advice
Chapter 3
General Processing Advice
Setting your goals and avoiding common pitfalls.
12
Chapter 3: General Processing Advice
You may wish to maintain as much quality as possible while increasing loudness somewhat over your
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having to worry about all-out loudness.
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Once you are comfortable with navigating through Omnia.9’s menus and have a good understanding of
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Choosing a Preset
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a deliberately different approach and most of its presets don’t give you any hint as to who should use
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If your Country station sounds great on the air with settings that might mimic an “Urban” preset - with a
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yourself because the preset name doesn’t match.
13
Chapter 3: General Processing Advice
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on the air.
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another on all material.
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cause ears to tire even more quickly and mask both gain riding artifacts and distortion. Most
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listening levels.
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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
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S DO use the “Save As” method of naming and saving your custom presets rather than over-writing
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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
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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
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.
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boundaries of the slider. Double-tapping on a sliding control will bring up an enlarged view for easier
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sub-menu.
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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.
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S Selecting Displays Only allows whichever displays you have selected to occupy the entire
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processing meters or an oscilloscope or FFT display. Tapping anywhere on the screen returns
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S The Lock Front Panel option allows you to lock the front panel if you have enabled password
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16
Chapter 4: Home Screen & User Interface
portion of the display and the bottom portion will change to accept your password via the on-
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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.
Navigation Modes
There are two navigation modes: Expert and Non-expert
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displayed and laid out.
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.
In this mode:
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 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
Speaker &
Headphone Volume
Navigation Resize
Arrows Bars
In this mode:
• 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
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==FO@=FMKAF?9LGM;@ AFL=J>9;=QGM ;9F<GM:D=
L9H 9KDA<=JLG:JAF?MH 9HGHMH OAF<GOOAL@LOGD9J?=KDA<=JKGF=>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
Input
AGC
Multiband
AGC
Wideband
Input AGC1 Multiband
Wideband
Limiter
AGC2
• 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.
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 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.
• The Multiband Stereo Enhancer meters will be displayed if the current preset employs this
feature.
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
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<AG9;;=KKL@=3F<GE=FMK9F<;GFLJGDK9;;=KKL@=;GFLJGDKG>L@=
N9JAGMKHJG;=KKAF?;GJ=K;GFY?MJ=L@=+GFALGJ-MLHMLK9F<9;;=KKKQKL=EK=LLAF?K
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
25
Chapter 7: Input Source Audio Menu
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.
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 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=LLGGJK=;GF<K
seconds is the default. This feature can be disabled altogether by selecting “Off”.
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!
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
,GL=L@9L9DL@GM?@L@=AFL=JF9DHD9Q=JGN=JJA<=KL@=HJG?J9EAFHMLQGM;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.
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
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.
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
30
Chapter 8: Input Undo Menu
Undo Menu
Each of the three internal audio input paths has a dedicated Undo section.
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>>=JO=>==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
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;LAGFO@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
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=KKGJO@=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
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 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
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.
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=9CLGL@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=9CLGL@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<
The Distance Limit is represented by the dark red bars in the Expander Thresholds meter in the Undo
Meter window.
Distance
Limit
Meters
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@=
:MADLAF 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
38
Chapter 8: Input Undo Menu
Multiband
Expander
Meters
Speed
Governor
Meters
2@=J=9J=L@J==9<<ALAGF9DE=L=JKAFL@=3F<GE=L=JAF?OAF<GO>GJ9M<AGD=N=DK9LL@=AFHMLLG3F<G9>L=J
L@=<=;DAHH=J:ML:=>GJ=L@=EMDLA:9F<=PH9F<=JK9F<9LL@=GMLHMLG>3F<G>GDDGOAF?L@=<=;DAHH=J9F<
=PH9F<=JK
'F=9;@ ;9K=L@=:JA?@LGJ9F?=:9J AF<A;9L=K9N=J9?=D=N=DKL@=<9JC=JGJ9F?=:9JKAF<A;9L=
H=9CD=N=DK9F<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
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;=KG>;GMJK=>GJ K=LLAF?KL@9L9J=H=;MDA9JLG9 H9JLA;MD9J
E=<AME
$GJ AFKL9F;=&" 9F<1LJ=9EAF? GMLHMLKMK=DGGC9@=9<DAEAL=JKAFKL=9< G> 9 ;DAHH=J >GJ YF9D
peak control).
;GEHD=L=JMF<GOF9F<=PHD9F9LAGFG>L@=N9JAGMKE=FMK>GMF<AFL@=$+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=FMQGM;9F DG9<9F<K9N=HJ=K=LK=F9:D=9F<;GFY?MJ=.J=K=L.JGL=;LAGF9F<9<BMKLH@9K=J=D9L=<
HJG;=KKAF?KM;@ 9KL@=.@9K=1;J9E:D=J.@9K=0GL9LGJ9F< 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=;LGJ9F<!DAHH=J
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
Selecting the Delete Preset button allows you to permanently delete user-created presets. Factory
presets cannot be deleted.
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@=GFK;J==FC=Q:G9J<
2QH=AFL@=F=OF9E=
K=D=;LU-)V9F<K=D=;L19N=.J=K=L
2@=F=OHJ=K=LOADDFGO9HH=9JAFL@=DAKL
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=LQGM;9F<GKG
7GM;9FFGL@GO=N=JA>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?$9;LGJQ.J=K=L
43
Chapter 9: FM Menu - Processing for FM
2GH9KKOGJ<HJGL=;L 9 HJ=K=L=FL=J9 H9KKOGJ<;DA;C GF U-)V9F<L@=FGF U.JGL=;L.J=K=L
VO9JFAF?
<A9DG?M= :GP OADD 9HH=9J
'> QGMJ AFL=FLAGF J=9DDQ AK LGHJGL=;LL@=HJ=K=L K=D=;L U7=K
V2@= YF9D KL=H AK
K9NAF?L@=F=OHJGL=;L=<HJ=K=LOAL@ 9MFAIM=F9E=AFL@=19N=.J=K=LE=FM
.JGL=;L=<HJ=K=LK9HH=9J
in green in the Load Preset menu. Remember not to accidentally leave an unencrypted version your
HJ=K=LAFL@= 9;CMH.J=K=LKDGL
44
Chapter 9: FM Menu - Processing for FM
S The Phase Scrambler button enables or disables the phase scrambler. Certain sharp sounds with
@A?@ @9JEGFA; ;GFL=FL KM;@ 9K LJMEH=LK GJ KGE= KQFL@=KAR=< KGMF<K 9J= DGO AF =F=J?Q :ML
;GFL9AF@A?@H=9CK
1AF;=H=9CKEMKL:=DAEAL=<LGHJ=N=FLGN=J<=NA9LAGFG>L@=$+;9JJA=J9F<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=DL@=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.
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
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 GMLV9F<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
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=KK9F<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 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;MLO@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.
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=JL@=+9PAEME%9AF;GFLJGDAFL@=5A<=:9F<%!K=;LAGF@9K9J9F?=G><
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;Q5A<L@9F<%9AF ;GFLJGDKO@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.
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>GDDGOL@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
S The Stereo Enhancer E=FM ?AN=K QGM 9;;=KK LG L@= 29J?=L +9PAEME %9AF +9PAEME %9AF
0=<M;LAGFLL9;CKH==<9F<0=D=9K=KH==<G>=9;@G>ALK:9F<K
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.
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 GainRatio Gate Threshold9F<Freeze Threshold controls work in the same
manner as their counterparts in other sections of the Omnia.9.
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@9LAKO@=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.
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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@9LAKL@=Q;GFKL9FLDQGH=J9L=AF9KL9L=G>?9AF J=<M;LAGF9F<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.
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=JL@= :=@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 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=
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.
"JQNGA;= AK GF=G> L@= EGKL<A>Y;MDL O9N=>GJEK LG HJG;=KK ;D=9FDQ9K 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?=LK9LL9;C J9L=K9F<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 AttackRelease TargetLimiter ThresholdAttack (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=
The Wideband AGC2 E=FM HJGNA<=K 9;;=KKLG L@= LJ9FKA=FL=F@9F;=E9PAEME ?9AFE9PAEME ?9AF
J=<M;LAGFJ9LAG9LL9;CJ=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
54
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 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?9AFKGGFDQL@=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 >MDDK;9D=
:9KK 9M<AGAF ;AJ;MEKL9F;=K O@=F L@=J=AKFGEA<J9F?=GJ LJ=:D=9M<AGHJ=K=FL
&GO=N=JL@=J=
will be less bass present in situations when there are other frequencies present.
55
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=;LAGF9F<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=DQAF;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=KKHJG;=KK=<
;D=9F=J KGMF<:ML 9L L@==PH=FK=G>GN=J9DD DGM<F=KK
+GJ=;DAHHAF?;9F J=KMDLAF 9 DGM<=J GF9AJ
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=FLKO@A;@K@GMD<
give you the (correct) impression that small changes make a big difference in the sound. Keep in
56
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 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>GJE9LKGJO@=FDAKL=FAF?
GF9KE9DD=JJ9<AGL@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=DQDGO=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 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.
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Chapter 9: FM Menu - Processing for FM
Since Omnia.9 can display such a wide variety of information about your station’s audio processing and
KA?F9DAL9DDGOKQGMLG;J=9L=9F<K9N=MH LGKAPDisplay PresetsO@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
-JQGM ;GMD<<=NGL=9F=FLAJ=HJ=K=LLGL@=GK;ADDGK;GH=9F<
EGFALGJ L@= HJG?J9E AFHMLL@= GMLHMLG>3F<G L@=+.6 :=>GJ=L@=;DAHH=J9F<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
58
Chapter 9: FM Menu - Processing for FM
59
Chapter 9: FM Menu - Processing for FM
60
Chapter 9: FM Menu - Processing for FM
61
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=JKAF;=GN=JK9EHDAF?;GFKME=KEGJ=!.3J=KGMJ;=KALAKLMJF=<G>>:Q<=>9MDL
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'FHML9F<.J==EH@'FHMLH9L@K
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 MPX Input 1 and 2 H9L;@ HGAFLKQGM ;9F NA=OL@=+MDLAHD=PD=>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 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=;LAGF9>L=JL@=:9KK;DAHH=J9>L=J
AFHMLDGM<F=KKE9L;@AF?9K 9F +.6 KA?F9DOAL@ FGAK=AFB=;LAGF9F< 9L L@= HJG?J9E H9KKL@JGM?@
point.
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 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
=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
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@=<AKHD9Q9MK=>MDLGGD>GJ=KL9:DAK@AF?9L9J?=LO@=FH=J>GJEAF?KH=9C=J;9DA:J9LAGF
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.
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.
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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 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=KLO@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-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.
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Chapter 9: FM Menu - Processing for FM
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=JKAF;=ALAKAEHGKKA:D=LGCFGOO@9LDA=K9@=9<AF L=JEK
G>;GFL=FLDGM<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.
2G HJ=H9J= -EFA9
LG GH=J9L= AF ;GEHDA9F;= OAL@ '230 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
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Chapter 10: FM Menu - Processing for ITU-R BS.412
!GFLJGDK>GJ9<BMKLAF?L@=.GO=J*AEAL=J9J=>GMF<AFL@=$+.JG;=KKAF?.GO=J*AEALE=FM
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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
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 'F L@= 'FL=JF9D EG<= -EFA9
XK :MADLAF 0"1 =F;G<=J AK 9;LAN=
=;9MK= 0"1 AK L9C=F AFLG
;GFKA<=J9LAGF :Q L@=;GEHGKAL=;DAHH=JL@=J=AKFGDGKKG>DGM<F=KKOAL@ L@AK EG<=
2@=J=>GJ=
we highly recommend using the Internal mode whenever possible.
S The MPX 2 Output Mode drop-down menu allows you to determine whether Omnia.9’s MPX 2
-MLHMLOADD>==<L@=>MDD+.6KA?F9DL@=C&RHADGL=PLJ9;L=<>JGEL@=+.6KA?F9DGJ9MFAIM=9F<
K=H9J9L=DQ?=F=J9L=<C&RHADGLKA?F9D
75
Chapter 11: FM Menu - RDS
76
Chapter 11: FM Menu - 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=GJLAY;A9D&=9<2J9>Y;FFGMF;=E=FL9F<+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 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 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.
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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=JALAKHGKKA: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)
The&( L3:2HJGNA<=K9 ;@9J9;L=J >J==>GJE E=KK9?=
'L;9F :=KL9LA; LGHJGNA<=9 KL9LAGF KDG?9FGJ
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
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.
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
-EFA9
HJGNA<=K LOGJ=9JH9F=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.
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.
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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;=
83
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 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.
84
Chapter 13 FM Menu - Meter Options
Chapter 13
FM Menu
Meter Options
Seeing what you hear.
85
Chapter 13 FM Menu - Meter Options
1H=;AY;9DDQ
86
Chapter 13 FM Menu - Meter Options
S MPX Output MPX Input 1 MPX Input 2 9F< Pre-emph Input are available in the Loudness
+=L=J+G<MD9LAGF+=L=J9F<+G<MD9LAGF,ME=JA;<AKHD9QK
S The MPX Power MeterPeak Modulation MeterPilot Level Meter9F<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
'FHML9F<+.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=;LAGF9F<AK9N9AD9:D==N=FO@=F-EFA9
AKFGLGH=J9LAF?AF +.6.GO=J+G<=
to provide a power measurement reference.
'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=FL9JQDGGH9F<L9C=KQGMJEAF<G>>L@=;9J=>MD
study of the changes you’re making to your 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
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<AKHD9QKGF=DGGCAF?9L
+.6 -MLHML OAL@ ,GAK= 9F< L@= GL@=J DGGCAF? 9L L@= +.6 'FHML
2@=F MKAF? L@= +.6 ,GAK=
'FB=;LAGF ;GFLJGDQGM ;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@= H9KKL@JGM?@ H9L;@ HGAFL
O@A;@ ;GFL9AFKL@=GJA?AF9DMFHJG;=KK=<9M<AG:MLOAL@GML ;GEH=FK9LAGF <=D9Q
'LAKFGJE9DDQ AF
KQF;OAL@L@='FHMLFGLL@=-MLHML
88
Chapter 13 FM Menu - Meter Options
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 Core is a low-latency processing core mainly designed for talent monitoring. Its
E=FM 9DDGOKQGMLG;@GGK=L@=AFHMLKGMJ;=DG9<9F<K9N=HJ=K=LK9F<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=JK5A<=: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
91
Chapter 14 Studio Processing Menu
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
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
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=FMQGM;9F ;@GGK=L@=AFHMLKGMJ;=DG9<9F<K9N=
HJ=K=LK9F<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=J9F<$AF9D*AEAL=JK=;LAGFK
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=JDAC=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=9DGGC9@=9<DAEAL=JO@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=DQAF;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
95
Chapter 15 HD Processing Menu
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.
96
Chapter 15 HD Processing Menu
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.
97
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
<=L9AD=<=PHD9F9LAGF G> K=LLAF? MH9F< ;GFY?MJAF? KLJ=9EAF? =F;G<=JK 9F<K=JN=JK OGMD<J=IMAJ= 9F
=FLAJ=E9FM9DG>ALKGOF9F<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<GO@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
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=J9F<-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
101
Chapter 16 Streaming Processing & Encoding Menu
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=JQGM
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<=JGJ 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=JL@=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=DKO@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.
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=JAF;DM<AF?L@= HGJLAF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J
=P9EHD=
;GEV
102
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 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.
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<=JGJ 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=JQGM
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 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=JAF;DM<AF?L@= HGJLAF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J
=P9EHD=
;GEV
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 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.
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=JQGM
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<=JGJ J=KMDL AF 9 @A?@IM9DALQJ=K9EHD=LG
C&R
105
Chapter 16 Streaming Processing & Encoding Menu
S The Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=DAFLGL@==F;G<=J
S The Server Y=D<K@GMD<;GFL9AF L@=30*G>L@= K=JN=JAF;DM<AF?L@= HGJLAF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J
=P9EHD=
;GEV
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 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.
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Chapter 16 Streaming Processing & Encoding Menu
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 Gain;GFLJGD<=L=JEAF=KL@=YF9DGMLHMLD=N=DAFLGL@==F;G<=J
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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=JAF;DM<AF?L@= HGJLAF L@=>GDDGOAF? >GJE9L
UKLJ=9EAF?K=JN=J
=P9EHD=
;GEV
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.
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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 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
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 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
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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?
111
Chapter 17 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
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identical.
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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@=:MADLAF HAFC FGAK=?=F=J9LGJKAF<=H=F<=FLDQ <=D9Q L@=GMLHMLG>L@=D=>L9F<
JA?@L;@9FF=DKKGDGL@=D=>L 9F<JA?@L;@9FF=DKAFN=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=JK=LL@= 9KK!DAH
9F<*AEAL=JL@J=K@GD<K9F<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=
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XKN9JAGMKHJG;=KKAF?;GJ=KKM;@ 9KL@=L=JEUHJ=K=LV
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
-F= AEHGJL9FL >=9LMJ= LGMF<=JKL9F< O=DD AK L@= $GDDGO ;GFLJGDO@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).
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.
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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=J9>L=JL@=*GM<F=KK+9L;@=<AFHML9K9F+.6KA?F9DOAL@FGAK=
or at the Program Pass-through patch point.
S The I/O menu allows you to listen to the Program Input or Studio Output.
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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 'FHMLL@=*GM<F=KK+9L;@=< H9L;@
HGAFLL@="A?AL9D-MLHML9F<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 Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched
Input.
S The Multiband Solo menu allows you to individually monitor the audio in each band of the
multiband AGC.
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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 'FHMLL@=*GM<F=KK+9L;@=< H9L;@
HGAFLL@="A?AL9D-MLHML9F<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.
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=JL@=E=FMKOGJCAFL@=K9E=O9Q
The Load Preset menu allows you view the preset you are currently feeding to the particular Monitor
-MLHMLLG??D=:9;C 9F<>GJL@ :=LO==F L@=;MJJ=FL9F<:9;CMH HJ=K=LKDG9<9F=OHJ=K=L;GEH9J=L@=
K=LLAF?KG>LOGHJ=K=LK9F<<=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=L9F(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 !@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.
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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@=GFK;J==FC=Q:G9J<
2QH=AFL@=F=OF9E=
K=D=;LU-)V9F<K=D=;LSave Preset. The new preset will now appear in the list.
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;@ GMLHML9<BMKLL@=E9KL=J ?9AF D=N=D9<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?KAF;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=JK9 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 Z9LGMLHML9F<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:9KKK@QKH=9C=JKL@=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 -MLHML9<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;LAGFKAFN=JLL@=HGD9JALQG>=9;@;@9FF=DK=LL@=GN=J9DD<=D9Q
LAE=9F<AF<ANA<M9D;@9FF=D<=D9Q9F<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#/
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2@AK;9F :=MK=>MDA>>GJ AFKL9F;=GF=KH=9C=J AK HD9;=<AF
L@=;GJF=J G>9JGGEO@AD=L@=GL@=JAK FGLJ=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.
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Chapter 17 Monitor Output Menu
1H=9C=J ;9DA:J9LAGFO@A;@ AK;GN=J=<AF ?J=9L=J<=L9AD D9L=J AF L@AKE9FM9DAKFGJE9DDQ <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.
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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 FrequencyWidth9F<Gain sliders operate in the same manner as their counterparts in other
K=;LAGFKG>L@=-EFA9
AFO@A;@9H9J9E=LJA;=IM9DAR=JAKG>>=J=<
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
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Chapter 17 Monitor Output Menu
S The FrequencyWidth9F<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 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=KK9F<+!
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
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<=FLDQ9 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=JA>QGM9J=AF 9L=KL=FNAJGFE=FL9F<>==<AF?9
!" HD9Q=J <AJ=;LDQ AFLG GF= G>L@=<A?AL9D AFHMLKQGM 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 9DDL9DC
>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;QLGGJ&R
127
Chapter 18 System Menu
S The Invert ;GFLJGD 9DDGOK QGM LG KO9H L@= HGD9JALQ G> GFDQ L@= D=>L ;@9FF=D AFHML GFDQ L@= JA?@L
;@9FF=DAFHMLGJ:GL@L@=D=>L9F<JA?@L;@9FF=DKKAEMDL9F=GMKDQ
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.
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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.
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;=KL@=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 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+.6GJ: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?K9F<L@=:MADLAF+.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 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=JK9F<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
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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;9LAGFKL@=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=
#>>: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;1HIC74B4CF>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;>B4C74I?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 'FHML9F<+.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
GMLHML9 :=F=YLO@=FMKAF?9 ;GEHJ=KK=<<A?AL9D12*9F<DGO=J:ALJ9L=K9KALE9Q@=DH HJ=N=FL:AL
J9L=J=<M;LAGFAF<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=<
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Chapter 18 System Menu
S The MPX Test Generator and L/R Test Generator are described in detail below.
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 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!
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Chapter 18 System Menu
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
&=J=AK9FGL@=JL=KLL@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 $AF9DDQK=D=;L&R.@9K='FN=JL
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;9DDQSweep L/R is a slow linear frequency sweep between 30 and
&R9F<Quick SweepAK9IMA;CKO==H:=LO==F
&ROAL@9;DA;C:=>GJ==9;@KO==H
133
Chapter 18 System Menu
134
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=;LAGFL@=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=
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.
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=<
S Selecting the Update Time or Update Date sliders will refresh the time displayed on the sliders.
3K=L@=1=L&GMJ1=L+AFML=1=L1=;GF<1=L7=9J1=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.
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Chapter 18 System Menu
Scheduling Menu
The SchedulingE=FM 9DDGOKQGMLGHJG?J9EMH LGLO=FLQKAP <9Q9F<LAE=<JAN=F=N=FLKAF;DM<AF?
KOAL;@AF?3F<G.J=K=LK>GJ=9;@AFHML;@9F?AF?HJG;=KKAF?HJ=K=LK>GJL@=$+1LM<AG9F<=9;@&"9F<
1LJ=9EAF?HJG;=KKAF?;GJ=K9F<;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.
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=?GJQO@AD=L@=HMDD<GOF E=FM :=F=9L@ L@=
$MF;LAGF;GFLJGDAK;GFL=PLK=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=LV9DAKLG>HJG;=KKAF?
presets will be displayed.
S Note:4BDA4C>B4CC7430HC8<40=35D=2C8>=?0A0<4C4AB?A8>AC>4=01;8=60=4E4=C
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
S The Function control in each GPI channel - A through H - determines which available parameter is
affected when the input signal is received.
Pins 2 through 9 are GPI inputs 1 through 8. Pins 18 through 25 are ground.
139
Chapter 18 System Menu
$GJ;GFLAFMGMK:=@9NAGJMK=GF=%.'>GJL@=9;LAGF9K>GDDGOK
S LO - Setting 1
S HI - Setting 2
$GJEGE=FL9JQ:=@9NAGJMK=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
140
Chapter 18 System Menu
S The FM pull-down menu allows you to enable a processing core for the FM MPX (composite)
GMLHML*0GMLHMLGJ: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.
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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=
-MLHMLKO@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
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.
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Chapter 18 System Menu
S Selecting the Enter Password Y=D< :JAF?K MH L@= GFK;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==FK=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.
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S The Safe Shutdown option properly and completely shuts down the unit. This function is available
GFDQ GF L@=>JGFLH9F=DFGLL@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@GMJKGJ@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.
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Chapter 18 System Menu
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=LE9KCK=H9J9L=<
by a forward slash).
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.
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Chapter 18 System Menu
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.
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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 Software9
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=LK9F<HJG;=KKAF?HJ=K=LK
=QGF<ALKMK=>MDF=KK9K 9:9;CMH MLADALQL@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
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Chapter 18 System Menu
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
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.
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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
Quality v. Loudness
-EFA9
AK ;9H9:D= G> HJGNA<AF? KGMF<IM9DALQ KMH=JAGJ LG 9FQ GL@=J HJG;=KKGJ 9N9AD9:D= LG<9Q9F<AK
=IM9DDQ;9H9:D=G>:=AF?DGM<=JL@9FL@=;GEH=LALAGFLGG
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.
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 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
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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.
Achieving Loudness
'>DGM<F=KKAK9F AEHGJL9FLHJG;=KKAF??G9D9F<QGM9J=OADDAF?LG9;;=HLEGJ=HJG;=KKAF?9JLA>9;LK9F<
?AN=MHKGE=IM9DALQ@=J=9J=KGE=KM??=KLAGFK
S 3K= >9KL=J 9LL9;C 9F< J=D=9K= KH==<K AF L@= 'FHML %! 5A<=:9F< %! 9F< +MDLA:9F< %!
sections.
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=KKGFDQEGJ=<AKLGJLAGF9F<L@=F :9;C
off a notch.
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 UKD9EV K=L MH 9 :JG9< ?=FLD= ;ML LGL@= @A?@EA<K LG
KEGGL@GML@GJFKGJ>=E9D=NG;9DAKLKGJ9<<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
$AF9DDQJ=E=E:=J L@9L#/ AK9 static HJG;=KK
2@9L AKALAF;J=9K=K GJJ=<M;=K ?9AF LG9 H9JLA;MD9J
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'FGL@=JOGJ<KA>QGM9HHDQ< G>:9KK:GGKL
it is applied to all incoming audio whether it is bass shy or bass heavy.
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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.
2@=+MDLA:9F<%!29J?=L9F< 9F<+AP;GFLJGDK;9F:=MK=<LG?=L@=JLG@=DHYF=LMF=QGMJKGMF<
-JD=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:9FVU-H=F!GMFLJQV U0G;CVGJU1EGGL@(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;@
155
Chapter 20 Factory Presets
Celeste – by LeeXS
>9KL9;LAF? 5 %! 9F< 'FYFAL= J9LAGK GN=J L@J=K@GD< AF L@= EMDLA:9F< %!XK ?AN= U!=D=KL=V 9
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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.
156
Chapter 20 Factory Presets
157
Chapter 20 Factory Presets
158
Chapter 20 Factory Presets
159
Chapter 20 Factory Presets
160
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
Perhaps one of the most valuable capabilities of the client software is speaker calibration. Since your
-EFA9
9DJ=9<Q ;GFL9AFK 9 :MADLAF 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;GFLJGDJGGEJ9;CJGGEHJG<M;LAGF>9;ADALQGJ9FQJ=EGL=EGFALGJHGAFL
7GM E9QOGF<=JO@QO=;GFKA<=JL@AKLG:=KM;@9FAEHGJL9FL=P=J;AK=O@=FDAKL=F=JK9J=FXL?GAF?LG:=
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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?
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Chapter 21 Remote Interface Software
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 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=FLKA<= 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 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
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"A?ALAR=JMK=JKK@GMD<9DKGK=D=;LL@AKGHLAGF
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Desktop option.
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Chapter 21 Remote Interface Software
Client-Only Controls
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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
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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
<<ALAGF9DDQAF GJ<=J >GJ L@=HJ=K=LLG9HH=9J AF L@=
DAKLQGMEMKLK9N=ALMKAF?L@=Save Preset function.
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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
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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<AGO@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
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OADD J=KMDLAF 9 KL=9<A=J ;GFF=;LAGF L@GM?@ 9L9 KDA?@L;GKL LG!.3 MK9?=
0=?9J<D=KKL@=;DA=FL
software will automatically determine whether to stream client audio in a linear (uncompressed)
.!+>GJE9LGJAF9 <9L9J=<M;=<>GJE9LO@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
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2@=E=L=JKGF L@=J=EGL=.! OADD
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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
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Chapter 21 Remote Interface Software
Speaker Calibration
KE=FLAGF=<=9JDA=JL9CAF? L@= LAE=LG;9DA:J9L= 9L D=9KLGF= K=LG>KH=9C=JK LG9;L9K QGMJ J=>=J=F;=
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S A pink noise generator to provide audio for measurement (pink noise having an equal amount of
“noise power” in each octave).
S Some means by which to correct for speaker and/or room inaccuracies (such as a parametric
=IM9DAR=J
167
Chapter 21 Remote Interface Software
'> 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;
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We also recommend setting up an Oscilloscope menu in the same manner so that you can watch for any
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'> QGM K== GJ @=9J 9FQ ;DAHHAF?<MJAF?L@= HJG;=KKLMJF <GOF L@= Master
Gain control in the Main 1 menu.
Return to the HomeE=FMK=D=;LMonitor OutputsL@=FSpeaker OutputL@=FMain 1. Turn down the
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level should be reduced accordingly.
<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
168
Chapter 21 Remote Interface Software
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“problem areas” with the speaker/room combination and which are microphone placement anomalies. If
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9 HD9;=E=FLKC=O=<J=9<AF?
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=IM9DAR=JOGJC:ML9K9IMA;CJ=NA=O
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.
You will be able to identify where your speakers start to roll off in terms of frequency response (especially
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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).
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making broader changes to the overall curve.
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Chapter 21 Remote Interface Software
5= KM??=KL L@9L AFKL=9< G> E9CAF? ;@9F?=K LGL@=#/K=;LAGFK QGM MK= -EFA9
XK Loudness 1 and
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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).
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=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)
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.
172
Chapter 22 Frequently Asked Questions (FAQ)
In an all-digital plant where Omnia.9 is located at the studio and feeding AES audio to an STL with AES
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2@=
source of the processed audio for each of these outputs is determined in the System > I/O Options >
Main Outputs menu.
173
Chapter 22 Frequently Asked Questions (FAQ)
174
Chapter 22 Frequently Asked Questions (FAQ)
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)
There are two basic conditions that must be met before a remote connection to Omnia.9 is possible:
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
176
Chapter 22 Frequently Asked Questions (FAQ)
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)
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
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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?
179
Chapter 23 Signal Path Diagrams
+9FQ MK=JK G> L@=-EFA9
OADD := ;GFL=FL OAL@ HDM??AF?ALAF E9CAF? L@= F=;=KK9JQ '- ;GFF=;LAGFK
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provides.
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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).
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Omnia.9.
180
Chapter 23 Signal Path Diagrams
Physical Inputs
181
Chapter 23 Signal Path Diagrams
182
Chapter 23 Signal Path Diagrams
Input Section
MPX Input
MPX Output
183
Chapter 23 Signal Path Diagrams
184
Chapter 23 Signal Path Diagrams
185
Chapter 23 Signal Path Diagrams
Undo
186
Chapter 23 Signal Path Diagrams
187
Chapter 23 Signal Path Diagrams
188
Chapter 23 Signal Path Diagrams
189
Chapter 23 Signal Path Diagrams
190
Chapter 23 Signal Path Diagrams
Multiband Processing
191
Chapter 23 Signal Path Diagrams
Speaker Controller
192
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Chapter 24
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193
6/>B3@'>317L1/B7=<A+/@@/<BG
Specifications
.J=DAEAF9JQKH=;AY;9LAGFK9LL@=LAE=L@AKE9FM9DO9KHJAFL=<9J=HJGNA<=<@=J=
Frequency Response
S
< &RLGC&R
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Signal-to-Noise Ratio
S %J=9L=JL@9F< M<==EH@9KAR=<&RLGC&R
System Distortion
S *=KKL@9F
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S < EAFAEME&RLGC&R< LQHA;9D
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S "=DL9KA?E9;GFN=JL=JOAL@DAF=9JH@9K=9F<9FLA9DA9KAF?YDL=J
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Inputs/Outputs
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sample rate converters.
S Shared Ethernet/Livewire RJ-45 port supporting 100 and 1000 BASE-T Ethernet.
194
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Power Requirements
S 4!&R9MLGK=FKAF?
S Power Connector
S '#!E9D=<=L9;@9:D=OAJ=HGO=J;GJ<KKMHHDA=<
Power Supply
S Dual internal redundant hot-swappable supplies.
Environmental
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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.
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(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
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FOR A PARTICULAR PURPOSE).
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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
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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.
If the date the customer’s notice of warranty claim is received by Telos (such date the “Warranty Claim
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warranted Product.
'>L@=59JJ9FLQ!D9AE,GLA;="9L=G;;MJK9>L=JL@=YJKL<9QK>GDDGOAF?L@=0=;=AHL"9L=9F<:=>GJ=L@=
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If the Warranty Claim Notice Date occurs between the end of the second (2nd) year following the Receipt
"9L=9F<L@=;GEHD=LAGF G>L@=Y>L@L@ Q=9JL@=;MKLGE=JOADDH9QL@=;GKLKG>K@AHHAF?KM;@O9JJ9FL=<
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197
Omnia.9
All you can imagine. And more.
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.
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.
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.
Just like with loudness graphic, this feature is turned off by default and must be enabled in the FM >
Meter Options > Meter Options 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.
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.
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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.
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.
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.
2
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.
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.
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. 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.
4
• 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.
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.
5
• 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.
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.
• 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.
6
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.
• 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 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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