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Omnia.9 User Manual V0.54

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1. Undo Left Display 2 TEY Input Loud 1 6 octave gt Pre Post MPX Output De emph Meters Meters Averages 10 Mod Mod Mtrs Num Display 4 Target 36 dB fais MPX Scope RTA Display 5 Target Range 6 0 dB dies a at sult i p MPX Display 6 FFT Off Range 60 dB aa Input 2 e The Delay control works the same here as it does previous and subsequent display sections L R Output The RTA Resolution control lets you choose between a 1 3 and 1 6 octave display The Averages control can be used to slow down or speed up the RIA s display response A lower average setting faster meter response might be more useful for peak monitoring while a higher average setting slower meter response might be more useful for calibrating speakers Higher 65 Chapter 9 FM Menu Processing for FM averages are also useful for adjusting lower frequencies The recommended setting for speaker calibration is 100 Regardless of how the Averages control is set the RTA maintains a history buffer of 1 000 frames Advancing the control to 1 000 will immediately display the average of the last 1 000 frames The Target control moves the dark red target window and or the amplitude scale up and down within the display a useful tool for establishing a target when performing speaker calibration The Range control allows you to view a broader or narrower range of audio indicated by the range scale along the left side of the displa
2. However there are some situations where it is more appropriate for Omnia 9 to initiate the connection to an instance of NfRemote on a remote computer outbound connection which is accomplished using the Outbound Connection menu One example of how this can be used is for technical support By creating an outbound connection you are connecting to the support engineer s NfRemote computer which in turn allows them to control your Omnia 9 In such a situation the support engineer would provide an IP address or host name and a port number separated by a colon 123 45 67 89 7373 for example Because IP addresses are commonly dynamically allocated using a host name is the preferred convention 144 Chapter 18 System Menu Outbound Connection System Config Host 123 45 67 89 7373 Host Host Connect Connect Connect HTTP Access Menu The HTTP Access menu allows you to create a white list of allowable IP addresses belonging to network resources that need access to the Omnia 9 such as automation play out computers System Config HTTP Server IP whitelist IP 1 127 0 0 1 255 255 255 255 HTTP port 7380 Format IP mask e Enter the IP address and subnet mask information using the following example as a guide 192 168 1 0 255 255 255 0 The beginning of the IP range followed by the subnet mask separated by a forward slash e Note You may enter an IP address without a mask to allow only that s
3. Jack formats Jill FM provides excellent vocal and lyrical clarity and a super smooth mid range This preset uses a tight ratio on the AGC but loose multi oand ratios and heavier multi band limiting Carefully designed not to over process the bass or high end this is a great choice for stations with a high female demographic or with long term listening as a goal who still need to maintain a competitive degree of loudness Motor City by Jesse Graffam A 7 band preset that unapologetically delivers an in your face rock sound Motor City gets a little edgy in the mid range but is never harsh This preset makes use of Omnia 9 s Wideband AGC2 after the multi band section and while it uses a gentle multi band ratio below threshold it makes extensive use of tighter ratios in all bands via the Gain Reduction Override feature New York by Jesse Graffam One of Omnia 9 s loudest factory presets New York uses 6 bands of fast multi band release times lots of multi band limiting low multi band AGC thresholds and a generous amount of clipping to burn a hole in the dial with a very dense compressed sound A very generous bass boost from the parametric EQ creates a loud harmonic rich bass but never forces its way into the mids or highs If your market demands maximum loudness this is a good starting preset that can be backed down in several ways as needed to trade off a bit of that loudness for a cleaner sound Northridg
4. Stream Title Omnia 9 SBR Mode Off v Bit Rate 128 kbps v Audio Bandwidth Channe Mode Stereo v Encoder Default Sample Rate 44 1 kHz v Gain 0 0 dB Stream Disabled The Title field allows you to enter the stream title displayed to listeners and on public listings such as shoutcast com The Enable control enables or disables the stream When enabled the encoder will continually try to connect to the specified server The SBR Spectral Band Replication Mode toggles between Off On and Oversampled We recommend setting this control to Off AAC for bit rates of 160kbps or higher On AAC for bit rates of 96kbps or lower and Oversampled for bitrates between 96 and 128kbps The Channel Mode menu provides a choice between Mono Stereo Stereo Independent Parametric Stereo and Dual Channel We recommend setting this control to Stereo for bit rates 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 amp Encoding Menu allocate the bits as needed we recommend not using these settings unless you have a specific reason to do so The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps Your choice of bit rate settin
5. BS Max G R F e BC 30 11 dB 6 dB BS Attack 70 BS Release 80 Nidth GW in Gh IR E n eie Bo Nl f B6 ia Be Attack 55 Bo Release 65 f 370 By Tat Width By Max Gain B7 Max G R 30 lease 3 650 3 dB 6 dB B7 Attack 30 By Release 35 e The Stereo Enhancer menu gives you access to the Target Maximum Gain Maximum Gain Reduction Attack speed and Release speed of each of its bands The Enable control turns the Stereo Enhancer on or off e The Target Width control determines the ratio of L R to L R Higher settings provide more stereo enhancement Adjust this control carefully to avoid turning the stereo image inside out by allowing L R to overpower L R which ruins mono compatibility and increases multipath distortion e 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 e 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 18aB e 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 The Target Width coupled Maximum Gain coupled Maximum Attenuatio
6. From the main Undo menu you can load and save Undo presets protect presets enable and disable the de clipper or multiband expander choose which functions are displayed in the Undo meter window adjust the amount of de clipping adjust the dynamics detector s ratio weighting and peak settings and set the expander s levels rates and ratios Load Preset Save Preset Preset Protection Undo Main Density Detector Band Weighting DD to Ratio Undo Metering Declipper Peak Detector Expander Levels Expander Rates Expander Ratios 31 Chapter 8 Input Undo Menu A word of caution about Undo In keeping with the spirit of Omnia 9 we have not blocked access to any of its controls including those found in the Undo section And while we would be the last ones to discourage you from making the most of everything Omnia 9 has to offer we feel that outside of adjusting the level of de clipping most users will get the most out of this powerful tool by using one of the provided factory Undo presets For the more curious and brave read on Load Preset Save Preset and Preset Protection Menus The Load Preset menus allows you view the Undo preset currently on the air toggle back and forth between the current and backup presets load a new preset compare the settings of two presets and delete user presets The Save Preset menu allows you to edit the name of or save over a user preset The Preset Protection Menu allows you to password
7. Trap sinks V2c R O 1 public IP 127 0 0 1 Comm public Comm Location SysLocation Contact SysContact Comm Comm Software Update Menu The Software Update menu displays the current version of the Omnia 9 processing software and the GUI software Software downloads are available from the Omnia website and can be downloaded to an external USB drive 146 Chapter 18 System Menu System System Config Software Update 4 To update your Omnia 9 plug in the Software Version 0 53 35 Sites i ices USB flash drive into the rear port and GUI Version 2 23 10 Save Configuration to USB File Invalid 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 off the air be sure to switch to your backup processor before beginning the update If you are using the Omnia 9 remote software you will also find an option to Upload Software a 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 e The Save Configuration to USB feature allows you to back up your current configuration including input and output settings levels audio routing display presets calibrated speaker presets and processing presets Beyond its usefulness as a backup utility this is also a great way to carry ov
8. boosted or cut to whatever gain level you have set For example if the Minimum slider is set to 20dB the Maximum is set to 10dB and the Gain is set to minus 5 0dB equalization will begin to take effect when the volume control is set to 20dB and will be attenuated by 5dB by the time the control is set to 10dB If the minimum and maximum values are the same the loudness controls function as a normal parametric equalizer independent of the volume setting 170 Chapter 22 Frequently Asked Questions FAQ Chapter 22 Frequently Asked Questions FAQ Answering your questions before you even ask them Chapter 22 Frequently Asked Questions FAQ 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 gt I O Options gt Input 1 2 3 menus I O Options Input 1 Primary Source Analog Clip Warning Secondary Source Analog v High Pass Filter 15 Hz v Studio Source Analog w Low Pass Filter 18000 Hz Input Preference Primary Keep in mind that individual processing cores must be enabled disabled and configured in the System gt System Config gt Processing Cores menu and only options that have been purchased and installed in your particular Omnia 9 will be available Home System System Config Processing Cores 4 FM MPX L R v Studio Cores 1 v Apply
9. by double tapping it After changing any parameter of a preset an M appears next to the Current Preset name and the text turns yellow to indicate the preset has been modified but not yet saved e The Backup Preset also becomes the former and unmodified Current Preset This allows you to toggle back and forth to hear the difference between the original and modified presets e Changes to each parameter you adjusted to create the modified preset are also displayed in yellow on the specific control button in each section of the processing core providing an instant visual comparison between the modified preset and the original preset upon which it is based e You can also compare the differences between the Current Preset and the Backup Preset providing neither have been modified by selecting the 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 Selecting the Delete Preset button allows you to permanently delete a preset from the list Save Preset Menu The Save Preset menu allows you to edit the name of or save over a preset 117 Chapter 17 Monitor Output Menu Monitor Outputs Speaker Output Save Preset Current Preset Reference Settings Reference Settings Edit Preset Name Save Preset e You can rename your current preset regardless of whether or not is has been modified by selectin
10. is a 7 band preset that uses tight ratios over threshold in the lowest band for strong consistent bass regardless of source material with looser ratios in the mid bands to keep vocals and drums open It also takes advantage of the WB AGC2 in the Bass Only mode to deliver an especially solid low end and uses the parametric EQ to pre load the highs which then receive a good dose of fast compression and limiting to deliver a familiar sounding top end An excellent easy to listen to preset for 70 s and 80 s formats Barbeque Sound by Rob Morsink If you like a lot of sizzle with your music Barbeque Sound brings it on and sends the highs out front to be noticed The multi band AGC s use an Infinite 1 ratio under threshold and looser ratios over threshold providing higher density in lower level audio and more openness in louder sounds Fast multi band release times offer up density and spectral consistency while the WB AGC 2 operating in the Bass Only mode gives low end transients like kick drums some extra punch 155 Chapter 20 Factory Presets Big Bottom by Leif Claesson As the name implies a thundering and broad low end is the hallmark of this 6 band preset The strong bass is created by a combination of the parametric EQ the WB AGC 2 in Bass Only mode and a final boost in the Band Mix Vocals are pushed a bit farther back in the mix in favor of the strong low end and Infinite 1 ratios in all ban
11. output a benefit when using a compressed digital STL and lower bit rates as it may help prevent bit rate reduction induced peak overshoots Settings are Off Light Medium and Heavy You can see the exact effect it has by looking at the oscilloscope set to L R Output with oversampling enabled 131 Chapter 18 System Menu The MPX Test Generator and L R Test Generator are described in detail below MPX Test Tone Generator Control Details and Suggested Applications The MPX and L R Test Tone Generator controls allows you choose from several key test tones which can be very useful for testing and proofing transmission path components Square is a 60Hz square wave useful for visualizing tilt e Quick Sweep is a very fast 1 000 60 000Hz sweep with a click before each sweep designed to offer a visual reference as to the high frequency performance of your STL or exciter If you were to connect an oscilloscope to a calibrated tuner with MPX output such as the Belar Wizard for example this is the shape you would see if your STL or exciter had a flat high frequency response Any deviation from a flat high frequency response means a loss of loudness and or stereo separation e Sweep MPX is a slow linear frequency sweep between 30 and 60 000 Hz e Log Sweep MPX is a logarithmic equivalent e 400Hz is a full amplitude sine wave to allow you to set an exact 75kHz deviation with a mod monitor e 0 5 5 0 and 0 5 30 0 are s
12. system Menu Whatever control you are looking for that is not directly related to processing is probably in here 123 Chapter 18 System Menu rin Q d TA AA SKXTAT lh we A wary re AA n A VA NMEA T ALLA H i EE vy Oe a 4 l BAO FY JUWEEBER ILIV BS BE WV ev The System Menu contains sub menus that provide status information about the Omnia 9 itself audio I O and remote connections It is also where high level global settings such as the time and date input output preset scheduling and GPI configuration are set It also contains the menus that determine which processing cores and streaming encoders are enabled where HTTP access and IP information is entered and where settings for the file recorder are made System Status I O Options File Recorder Time Date Scheduling System Configuration The System Status menu is divided into three sections System Information Network Information and Audio I O Status System Status System Information Network Information Audio I O Status The System Information portion shows information about Omnia 9 s operation including CPU load available RAM power supply health up time and various software firmware and hardware versions 124 Chapter 18 System Menu System Status System Information CPU Load 44 Up time 0 years 0 days 00 04 01 CN9000 ver 1 3 Available RAM 1555 MB Software Version 0 53 35 Power Supply OK GUI
13. that makes it difficult to determine which of the adjustments is actually responsible for the changes for better or worse you re hearing on the air DO look to the Band Mix and Parametric EQ sections first to achieve the spectral balance aka signature sound that you re looking for These are powerful adjustments and a little EQ can go a long way This is generally safer than making adjustments to the target attack and release rate controls as it is sometimes difficult to know how the different compression stages interact with one another on all material DO take breaks when adjusting your processing Ears tire quickly and if you stay at it too long you re almost sure to make changes influenced by fatigue DON T turn your monitor speakers up too loud when making adjustments High listening levels cause ears to tire even more quickly and mask both gain riding artifacts and distortion Most listeners play the radio in the background and problems tend to be more audible at comfortable listening levels DO make small adjustments particularly to critical controls like Clipper and Limiter thresholds 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 DON T rush the process Use the sleep on it method when you ve reached a point where you are mosily satisfied with
14. the current preset e The Monitor Out menu allows you to view the input Source and output audio signals of the Speaker Headphone and Aux monitor points in either the left or right channel Below are some examples of how to use the oscilloscope As a High Frequency Headroom Monitor e Display the Left or Right Demod signal from the MPX Output menu e Set Oversampling to On e Set Phosphor Persistence to 50 e Set Gain to 3 e Set Lines to 1 e Set Zoom to 4x Below is a comparison of this signal to the pre emphasized output so you can see just how much additional HF headroom Omnia 9 s clipper provides LIR Output Left Pre Emph As a Pilot Protection Monitor e Display the MPX Output e Set Oversampling to Off e Set Phosphor Persistence to 40 64 Chapter 9 FM Menu Processing for FM e Set Gain to 0 e Set Lines to 0 e Set Zoom to 1x Note that what you are seeing here is the actual pilot extracted from the entire MPX signal The RTA menu allows you to monitor many of the same sources as those mentioned in the Oscilloscope menu section The horizontal scale along the bottom of the RTA screen shows frequencies from 20 to 20 000Hz The vertical scale along the left side shows the amplitude of the audio in decibels MPX Output Left De emph Lossy Home Processing Display Settings Display 1 Undo Proc Delay 0 ms yO Deciip Program Meters Meters Input Display 3 U Ctrl Misc RTA Resolution Undo
15. BY LEIF CLAESSON Undo Input 1 Aggressive Unprocessing FEM Main Digital Rustonium MPX Output Multiples Lossy 3b 12 sf TT 30 10 i 6 12 fe 12 E ao 2 24 g p 3 ao pe 00 i i AZ BiB o 42 eq 18 6 SS Ee Eee le 3 6 g A vu 24 E S ee 18 fy a 18 24 25 12 4 2 p a 8 6 De ES ead ul i a Al a ae AC E PRERE TEE _ Ee 40 Re ee ee Aa S oe _ 605E E EE W2 ut f 4 i LR Dynamics Multiband Exp iput ec i 4B amp Multiband Home FM Processing MPX Input Meter Options While Omnia 9 offers completely separate processing cores for FM up to three HD channels three streams depending upon configuration and a low latency studio core the majority of the controls are the same for each There will be some differences of course for settings that are peculiar to a particular medium For instance HD and Streaming outputs use look ahead limiters instead of a clipper for final peak control By familiarizing yourself with the FM section which is the primary and perhaps most familiar section of any processor you can get to know the menu interfaces and the function of the various controls Fair warning There is no shortage of controls in Omnia 9 It was deliberately designed to provide a very comprehensive set of tools and give you complete freedom to create exactly the sound you want and feel is best suited to your station in your market A complete rundown and e
16. Chapter 9 FM Menu Processing for FM Multiband Thresholds section is determined by the number of bands of processing used in the Current Preset Home FM Processing MB Thresholds 4 PCC Target couped l f linterthreshold coupled BI AGC Target 4 00 dB m mter Threshold 12 00dB B2 AGC Target 0 50 dB B2 Limiter Threshold 12 00 dB B3 AGC Target 4 00 dB Pomme imiter Threshold 18 00 dB SS B4 AGC Target 4 75 dB B4 Limiter Threshold 17 00 dB BS AGC Target 2 00 dB B5 Limiter Threshold 18 00 GB B6 AGC Target 1 50 dB B7 AGC Target 5 00 dB B7 Limiter Threshold 8 00 dB e The AGC Target controls set the target output level of each band of the Multiband AGC A lower setting provides a lower output level while a higher setting provides a higher output level These controls have a range between 12 and 12dB in one tenth dB increments e The Limiter Threshold controls determine at which point the Multiband Limiter acts upon the incoming audio for its particular band relative to its corresponding AGC Target For example a 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 OdB in one tenth dB increments The Dry Voice Detection Menu contains the controls to enable the dry voice detector circuit and adjust the dynamics secti
17. Config MPX Power Control i ITU R BS 412 Compliance MPX Inputs HD Cores 3 Ww RDS Encoder Streaming Cores 3 v Pre emph Input Aux Monitor Output 172 Chapter 22 Frequently Asked Questions FAQ Though the rear panel digital inputs are labeled Main In AES Reference and Aux In in an effort to represent a typical installation scenario they are in fact all identical and interchangeable Main Analog I O Main Digital I O Aux Digital 1 0 COMPOSITE I O RIGHT In SCA Bypass in RIGHT Out Main FM Out 1 One important thing to understand is how each audio source is shared within the unit Again using a fully optioned unit for illustration audio destined for the FM processor is also shared by the HD 1 Streaming 1 and Studio cores Audio destined for HD 2 is shared by the Streaming 2 core while audio for the HD 3 feed is shared by the Streaming 3 core The choice of which rear panel outputs to use will depend upon the configuration of your particular plant In an all digital plant where Omnia 9 is located at the studio and feeding AES audio to an STL with AES inputs output audio should come from the Main FM Out 1 Main FM Out 2 and Aux Out outputs The source of the processed audio for each of these outputs is determined in the System gt I O Options gt Main Outputs menu System I O Options Main Outputs Boerne Main FM Out 1 Level 0 0 dB Omnia Direct tm FM Out rain FH Out AES FM Out
18. Gain 11 5 dB Invert Off _ 4 Invert Off wv Invert Off wv Invert Off Mode L R Mode L R boud Mode L R wv Mode L R Ww If you are using Omnia 9 s digital outputs levels are set in in the System gt I O Options gt Main Outputs menu 174 Chapter 22 Frequently Asked Questions FAQ System I O Options Main Outputs ape Ww Main FM Out 1 Level 0 0 dB Omnia Direct tm ain FM Out 2 i AES FM Out 1 i v Main FM Out 2 Level 0 0 dB L R Audio appie AES FM Out 2 U v Aux Out Level 0 0 dB L R Audio Ww SSE Analog Out Speaker Out gt If you are using the composite outputs levels are set in the System gt I O Options gt FM Options menu System I O Options FM Options 4 Pre Emphasis MPX Audio BW i ont Level L R Out BW 75 us S9 16 5 KHZ gt 15 00 dB 16 KHz v 7 Stereo Mode utput Level L R Codec oz poe 3 0 Dual Sideband gt i 15 00 dB Safety Off v MPX1 Mode L R Test Gen iin Eai MPX Output Y off o RF Bandwidth MPX2 Mode Controller MPX Output i igleliie MPX Test Gen off Omnia 9 provides a diversity delay so that FM audio can be delayed and time aligned to corresponding HD 1 audio ensuring listeners with HD radios will experience a smooth transition when their receivers switch back and forth between the analog and digital signals This control has been relocated in this version of the software and is now found in the System gt I O Optio
19. I O Options Silence Detection Silence Detect 2 0 seconds Program Detect 0 5 seconds 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 Primary source if the Input Preference control in the Input gt I O Options menu is set to Current e If the Input Preference control in the Input gt I O Options menu is set to Primary the Program Detect control adjusts how long the unit will wait once it has determined that audio has been restored to the primary input If the Input Preference control is set to Current this control will determine how long it waits to return to the primary input if audio is lost on the secondary input The Main Outputs Menu determines which audio source is present on each of the rear panel connections including Main FM Out 1 Main FM Out 2 Aux Out and Analog Out and provides output level adjustments for each It also controls the source audio for the AES Main FM Out 1 and Out 2 outputs and enables the use of the AES Main FM Out 1 and Out 2 as Omnia Direct sources the system jointly created by Nautel and Omnia which digitally transfers the composite signal from the processor directly to the exciter I O Options Main Outputs The Main FM Out 1 Main FM Out 2 Aux Out and Analog Out
20. Limit 12 dB BS Maximum Gain 6 00 dB The Relative Threshold control for each band determines how far below the currently detected peak the expander threshold sits Lower thresholds moving the slider to the right result in a greater peak to threshold distance and therefore provide more expansion Higher thresholds moving the slider to the left narrow the peak to threshold distance and provide less expansion In addition to an adjustable per band peak detector with adjustable attack and release speeds whose function is described above in the Peak Detector menu section each channel also has a wideband peak detector with fixed attack and release speeds The Band lt WB Distance Limit controls determine the greatest distance by which an individual band s peak detector can fall relative to the wideband level and keeps any one band from being expanded if there are insufficient levels to begin with For example if the current wideband peak is 6dB and this control is set to 10dB the peak detector for that individual band will not fall below 16dB e The Maximum Gain control sets the absolute maximum amount of gain that can be applied to the audio in each expander band regardless of program material or any other control settings The Distance Limit is represented by the dark red bars in the Expander Thresholds meter in the Undo Meter window G mMm nN T 9 Speaker Volume 16 5 dB Headphone Volume 26 0 dB Menu BY LEIF CLAESSON Distance
21. Manual If you read nothing else read this Getting the Most From This Manual Getting the Most From this Manual Let s be honest about a few things right up front e Omnia 9 offers a lot of power and flexibility characteristics that inherently bring a degree of complexity along for the ride e It S menu and control architecture is logical but also broad and deep so we ve organized the 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 e This is a whopping big document e Your time is valuable and limited While we d love for everyone to read this manual cover to cover and fully understand all of what Omnia 9 can do that s just not practical for the majority of users Most of you would like to rack it up plug it in find a suitable preset for your taste and market maybe tweak it up a bit and then try to eat lunch before the really important stuff lands on your desk Like the virus plagued laptop from that sales guy again Or the wireless mic that the intern backed over with the promotions van again Or the urinal that won t stop running You know the rea reasons you got into broadcasting With that in mind here s what we suggest e When you re done here go to Chapter 2 the Quick Start Guide This is bare bones stuff including physical I O routing the audio within Omnia 9 setting levels and
22. Menu e The Band Mix coupled slider allows you to adjust the output levels of all bands simultaneously Each band can also be individually adjusted with the Band 1 Band 7 Level controls Adjustments here should be made carefully especially additional gain as the only processing stage following this section is the Final Limiter e The Studio processing core does not use a final clipper for peak control Instead it uses a look ahead limiter which is adjustable by the 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 to the left reduces the amount of limiting and gives you a more open sound but at the expense of overall loudness Conversely increasing limiter drive moving the slider to the right will result in more limiting and a louder output but at the expense of dynamics Enabling the Multiband Limiters provides a peak limiter to ride atop each individual band similar to the arrangement in the FM HD and Studio processing cores Disabling the limiters reduces the already low latency times in the Studio processor core slightly 92 Chapter 15 HD Processing Menu Chapter 15 HD Processing Menu Just like processing for FM except for how it s different Chapter 15 HD Processing Menu The HD Processing Menu The HD 1 HD 2 and HD 3 menus of Omnia 9 provide access to all sections of the HD processing core s d
23. Omnia 9 XE 192 168 1 4 7300 Omnia 9 XE Rack 192 168 1 20 7300 _Omnia 9 Local Omnia 9 ie The Comment field allows you to enter a friendly name for each device to which you plan to connect The IP Address field should contain the IP address of the Omnia 9 host computer The Password field should contain the same password established in the Omnia 9 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 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 compression used to deliver the audio as well as the oscilloscope RTA and FFI display information e Automatic chooses the best audio format based upon connection speed e Off completely disables audio streaming and the client side oscilloscope RTA and FFT displays 163 Chapter 21 Remote Interface Software e 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 e Force Lossless enables lossless streaming even on connections that are too slow This choice is best reserved for local networks with sufficient bandwidth to support i
24. Omnia 9 can apply automatic leveling to several key input patch points and makes those available here in the Meter Options Menu for display purposes as well as in each of the Monitor Outputs menus e Note This leveling function affects ONLY the audio available at the patch point It has NO effect on the on air processing Loudness V Options Meter Options Matched A B Inactive Maximum Gain 24 dB panes Ww Program Input Integration Time Match goat v Max Attenuation 12 dB MPX Output 87 Chapter 13 FM Menu Meter Options The Integration Time setting controls the integration time of the two ITU BS 1770 loudness meters that form the basis for the loudness comparison The loudness is equalized by a ramping gain to account for the difference between the two loudness meters The default time is 1 second 3 seconds is optional The 1 second integration time will cause the leveler to respond to differences in level more quickly providing more consistent levels between A and B while the 3 second time will allow more level variation and reduces the likelihood of audible pumping The Source control allows you to choose the audio source for the Loudness Matching patch point Available options are Program Input MPX Input 1 MPX Input 2 Pre emph Input and Post Multiband The Match control allows you to choose which audio source to match the loudness of Available options are MPX Output L R Output MPX Input 1 MPX Input 2 and
25. Pre emph Input Test Options Menu The Test Options menu contains two controls that are useful only in a test situation and have no effect at all on the on air output The Test Input patch point activates automatically and does not use processing power when inactive Enabling the Always Active control in the Test Input menu forces this patch point to remain active at all times and allows for cleaner A B switching Meter Options Test Options Program Pass through Delay 840 ms 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 perfect radio reception and some noise will always be present so this control helps level the playing field a bit To use this feature set up two FFT spectrum analyzer displays one looking at MPX Output with Noise and the other looking at the MPX Input Then using the MPX Noise Injection control you can visibly match the noise level of the received station so that you can A B 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 presets on a tuner especially since you can have two oscilloscopes side by side displaying both signals to make sure that both are modulating at the exact same peak level The Pass Through Delay Time control ad
26. RDS injection from 0 15 The default setting is 4 e The RDS Mode drop down menu allows you to choose from several different RDS options 74 Chapter 11 FM Menu RDS e When set to Off 54 5kHz RDS is turned completely off but the audio extends all the way out to 54 5kHz It is not recommended to use an external RDS encoder in this mode even one installed after Omnia 9 as the audio extends partially into the portion of the spectrum normally reserved for RDS e When set to Off 54kHz the audio extends only to 54kHz to allow room for RDS data provided by an external RDS encoder located after Omnia 9 Note that using this mode does mean losing 3dB of stereo separation between 16 000 and 16 500Hz e In the Internal mode Omnia 9 s built in RDS encoder is active Because RDS is taken into consideration by the composite clipper there is no loss of loudness with this mode Therefore we highly recommend using the Internal mode whenever possible e The External Input 1 External Input 2 and External Input 1 2 modes determine which of Omnia 9 s MPX inputs are active for RDS input when using an external encoder e The MPX 2 Output Mode drop down menu allows you to determine whether Omnia 9 s MPX 2 Output will feed the full MPX signal the 19kHz pilot extracted from the MPX signal or a unique and separately generated 19kHz pilot signal Using Omnia 9 s Built In RDS Encoder Using the built in RDS encoder is the simplest and mos
27. Release speed Target Gate Threshold and Freeze Threshold controls work in the same manner as their counterparts in the Wideband AGC1 section 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 If you use the AGC2 as a Bass Compressor it will be situated after the Multiband section but will affect only the lower bands and allow you to push the bass a bit harder without over driving the final clipper or using excessively fast attack and release speeds in the lower bands of the Multiband AGC Bass Only BO employs a sidechain filter that allows only the audio from the lower bands to affect gain so only the lower frequencies are compressed above threshold Bass Wideband BW also employs a sidechain filter but one that contains the entire audio spectrum so the bass becomes more compressed when the entire mix is above threshold This mode is most useful when loudness is your primary processing goal as it could allow full scale bass audio in circumstances when there is no mid range or treble audio present However there will be less bass present in situations when there are other frequencies present Wideband AGC3 Menu The Wideband AGC3 menu operates in the same manner as Wideband AGC2 with all of the same controls but with one difference It cannot be used as a wideb
28. Set Year 2013 03 25 13 Set Minute 45 Set Month August 2013 08 20 Set Second 00 Set Day 20 Tuesday Apply Time Apply Date e Selecting the Update Time or Update Date sliders will refresh the time displayed on the sliders Use the Set Hour Set Minute Set Second Set Year Set Month and Set Day sliders to reflect the current time and date then select Apply Time or Apply Date to put the new values you ve set into effect 136 Chapter 18 System Menu The Scheduling menu allows you to program up to twenty six 26 day and time driven events including switching Undo Presets for each input changing processing presets for the FM Studio and each HD and Streaming processing cores and controlling the dry voice detector for each core System Scheduling Event A B Event C D Event E F Event G H Event I J Event K L Event M N Event O P Event Q R Event S T Event U V Event W X Event Y Z The Info Menu displays events that are currently active such as A E K M O and the most recent past event System Scheduling Active AEKMO Last Event O at 2013 10 24 10 54 00 Each Event Menu window simultaneously displays controls for two separate events An event may be scheduled on one several or all days of the week by enabling the Day of Week control for a particular day s 137 Chapter 18 System Menu System Scheduling Event A B Event A enable Sunday Event B enable a a RY Time 00 00 Monday ee Tt
29. The Genre field is also a metadata field The type or style of content found on the stream is typically entered here e The Apply Immediately control determines whether any changes you make to the server settings take effect immediately or when you manually reconnect MP3 Encoder Menu The MP3 Encoder menu allows you to enable or disable the stream adjust its output gain enter the stream s title and select the channel mode sample rate bit rate audio bandwidth and encoding quality Streaming 1 Streams MP3 Encoder Stream Title Omnia 9 Channel Mode Stereo h d Gain 0 0 dB HI 5 Audio Bandwidth Enable Sample Rate 44 1 kHz wv r A Bit Rate 128 kbps v Encoding Quality Best Stream Disabled The Title field allows you to enter the stream title displayed to listeners and on public listings such as shoutcast com The Enable control enables or disables the stream When enabled the encoder will continually try to connect to the specified server The Channel Mode menu provides a choice between Mono Stereo and Stereo Independent Because the Stereo Independent settings forces the encoder to divide bits equally between the left and right channels instead of allowing it to allocate the bits as needed we recommend not using this settings unless you have a specific reason to do so 103 Chapter 16 Streaming Processing amp Encoding Menu The Sample Rate menu will either maintain Omnia 9 s system sample rate of 44 1kHz
30. Undo Input 1 N i 30 0 24 TA lt N 8 20 18 12 1 4 Dynamics Expansion Ratio Expander Thresholds Multiband Exp The Expander Rates menu provides controls for the attack and release speeds of the expanders for each band as well as attack and release speed controls for each band s speed governors 37 Chapter 8 Input Undo Menu Input 1 Undo Expander Rates 3 Bi Expander Bi Speed Governor Bi Speed Governor F SL Epes pt Release 68 Attack 20 Release 30 7 B2 Expander B2 Speed Governor B2 Speed Governor 80 22 Et pes ilar icc Release 66 Attack 22 Release 18 7 B3 Expander B3 Speed Governor B3 Speed Governor 3 80 ES Epistles inc Ai Release 65 Attack 34 Release 8 s B4 Expander B4 Speed Governor B4 Speed Governor OU Eee Eranda pe Release 72 Attack 35 Release 7 jik BS Expander BS Speed Governor B5 Speed Governor ES Ecpiscles arici ii Release 73 Attack 54 Release 6 e The Expander Attack speed control determines how quickly each band s expander will rise when the audio is in need of expansion Faster settings will expand the audio more quickly Using the built in oscilloscope to view the Undo Control Signal patch point is very helpful for adjusting attack and release speeds as they show the gain that will be applied to the audio in each band A detailed explanation of how to monitor various patch points within Omnia 9 is provided in the Display S
31. Undo and Processing Meters to display these parameters in greater detail Or you could devote an entire display preset to the oscilloscope and monitor the program input the output of Undo the MPX before the clipper and the final MPX output to see what the various stages within Omnia 9 are doing to the audio signal Understanding the User Interface and Display Omnia 9 s User Interface UI is set up in tiers The first tier always contains the highest level most general menu options in the form of buttons When selected these buttons take you to a second tier of menu options which are also buttons but of a more specific nature The third tier is made up of Omnia 9 s controls Navigation Modes There are two navigation modes Expert and Non expert The default mode is Non Expert Both modes give you access to the same number of controls the terms refer only to the way those controls are displayed and laid out The Non Expert mode shows fewer controls at once and has a cleaner less cluttered look especially on the front panel display However it requires more steps to navigate through the menu system 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 inexperienced users It works especially well when connected via remote control where you have more screen real
32. air for almost two years on hundreds of radio stations around the globe But the story of how Omnia 9 actually began though goes back much further to a time when its creator and designer Leif Claesson got tired of listening to classic rock music There was a lot of good current music out but he couldn t stand the way CD mastering was falling victim to its own loudness war reminiscent of the one still being waged by many major market FM radio stations The CDs themselves were over processed hyper compressed and clipped to death and while some people with good ears and common sense are finally starting to pay attention to quality again the sad fact is that the problem got significantly worse long before anyone took action And so he found himself listening only to older recordings Growing tired of his relatively small playlist he decided to do something about it and the idea for Undo was born Processing for FM HD Studio and Streaming Audio Each processing core of Omnia 9 contains an Input AGC a 6 band fully parametric equalizer multiband noise reduction via downward expanders a multiband stereo enhancer a wideband AGC a second defeatable wideband AGC up to 7 bands of multiband AGC and peak limiting and an adjustable bass clipper The FM core features a final psychoacoustically controlled distortion masking clipper that not only allows you to be louder on the dial if that s your goal but far cleaner too It can
33. also be equipped with built in RDS injection in the composite to ensure perfect integration of RDS pilot and audio The optional HD Studio and Streaming cores utilize a look ahead final limiter for peak control There are no hidden or back door controls in Omnia 9 We ve given you full access to all of its controls so as not to limit your ability to create exactly the sound you want on the air and as you will soon discover there is no shortage of controls The Omnia 9 Toolbox Omnia 9 is unique in that it provides you with some built in tools that we believe are essential to have when setting up your processing In the past tuning a processor was done purely by ear in most cases And while processing is certainly a subjective process it s as much art as it is science having the right tools in your toolbox can be very handy not to mention revealing when you want to find out why something sounds the way it does For that reason we ve chosen to include a built in oscilloscope an RTA and an FFT spectrum analyzer that can monitor dozens of different points within each of Omnia 9 s processing cores There s even a pink noise generator and a powerful parametric equalizer so that you can calibrate your speakers giving you an accurate monitoring point from which to adjust your processing Learning to use these tools to your advantage is just as important as learning how to use Omnia 9 s controls because with them y
34. also record audio streamed to the client PC The recorders in the client software work in exactly the same way Speaker Calibration As mentioned earlier taking the time to calibrate at least one set of speakers to act as your reference monitors is time well spent In order to perform a speaker calibration you need four tools e Acalibrated microphone to capture the audio e A pink noise generator to provide audio for measurement pink noise having an equal amount of noise power in each octave e A real time audio analyzer RTA to visually display what the microphone is hearing e Some means by which to correct for speaker and or room inaccuracies Such as a parametric equalizer Omnia 9 provides three out of the four tools the pink noise generator the RTA and the EQ All you need to add is the calibrated mic Choosing a Calibrated Mic It is important to understand that you must use a calibrated microphone designed for sound measurement purposes to perform a proper calibration Studio or recording mics even the high end high dollar ones are of no value when calibrating a system You can spend thousands of dollars on a scientific grade high precision calibrated microphone but the good news is you don t have to Even the least expensive models will provide good quality results and are worthy of consideration While we are not in the business of selling microphones nor do we have any interest in promotin
35. bands available in the Downward Expanders section is determined by the number of bands of processing used in the Current Preset Downward 4 Processing Expanders Max G R 7 dB Bi Target 34 dBFS Bi Attack 20 Bi Release 20 B2 Target 40 dBFS B2 Attack 25 B2 Release 25 Target coupled B3 Target 48 dBFS B3 Attack 40 B3 Release 50 B4 Target 50 dBFS B4 Attack 60 B4 Release 45 Attack coupled B5 Target 48 dBFS B5 Attack 70 B5 Release 30 Release coupled B6 Target 46 dBFS B6 Attack 50 B6 Release 50 Speed coupled B7 Target 44 dBFS BY Attack 50 B Release 50 The Downward Expanders operates in a manner similar to a traditional noise gate and is useful for reducing unwanted background noise from less than perfect program material or from a noisy studio environment The ratio of these expanders is 2 1 e The Maximum Gain Reduction control determines the greatest amount of gain reduction for all available bands 45 Chapter 9 FM Menu Processing for FM e The Threshold control for each band sets the point at which downward expansion begins The range of this control is from 90 to OdB The Threshold Coupled control allows all bands to be adjusted simultaneously by an identical amount The Attack control determines the speed with which the Downward Expanders act to reduce gain in each band when the program audio falls below the threshold Lower sett
36. by the sound of the classic Omnia 3 FM Turbo this 3 band preset is dynamic and punchy with an open mid range and a more classic Omnia sound Trinity doesn t use any parametric EQ or stereo enhancement runs with a very light ratio in the multi band section and presents itself very transparently on the air making it suitable for nearly any format Upsidasium by Leif Claesson The smoothest and most open of the atomic presets Upsidasium is still relatively loud but thanks to very loose multiband ratios is also extremely open sounding Drums and other transient sounds cut through the mix vocals are dynamic and the upper high end delivers that lighter than air sound here s looking at you Denny If your situation permits giving up the last dB of loudness in favor of a sound that s easy to listen to long term but you don t want to sound underpowered on the dial Upsidasium offers the perfect compromise Uranium 238 by Leif Claesson The second loudest of the atomic presets Uranium 238 is slightly less radioactive version of Plutonium FM It has a similar sound to its parent preset but does not utilize the Wideband 3 compressor after the multiband section and employs less final clipping A good choice if market dominating loudness is still your goal but Plutonium feels too over the top Zenith by Jesse Graffam How much processing can you get away with before things
37. contains a built in pink noise generator and an RIA adding your own calibrated microphone to the setup will allow you to perform a calibration of any speaker system including your studio control room rack room production facility or any remote monitor point You may wonder why we consider this to be such an important exercise when listeners aren t going to be hearing your station on calibrated monitors Great question Yes listening to your station s processing on speakers of different qualities in a wide variety of listening environments is important to get a real world feel of how things sound but we feel strongly that having at least one set of calibrated reference monitors is absolutely critical to making educated decisions as you adjust your processing If you make adjustments based upon what you hear on un calibrated speakers from within the Program Director s car for example every decision you make will be influenced by the inaccuracies of those speakers in that room Details of how to perform such a calibration are found later in this chapter Downloading Installing and Configuring the Client Software Before the client software can be downloaded your Omnia 9 must be connected to your network and must have an IP addressed assigned to it a process outlined earlier in this manual It must also have a password enabled and be HTTP whitelisted at least until you connect with the remote Connect to you
38. controls to choose and adjust the physical input pre emphasis delay and equalization settings The Pre emph Input is similar to the MPX Inputs but is specifically for use with the L R Outputs from another processor This input can receive audio from any of the three digital inputs The analog input is not suitable as it is not DC coupled 83 Chapter 12 FM Menu MPX Inputs MPX Input Pre emph Input A Physical Input e i in 0 0 d Main Digital lt Input gain dB Freg 1 59216 Hz Freg 2 59216 Hz Source Hat h Add Delay 0 ms Width 1 1 00 Oct Width 2 1 00 Oct Pre emphasis 75 us The Physical Input control determines which rear panel input is routed to the pre emph input patch point The Source control selects whether the input source is flat or pre emphasized The Pre emphasis control should be set to match the amount of pre emphasis the incoming signal has or used to have if it was de emphasized prior to being fed into Omnia 9 The Add Delay control allows you to delay the audio coming in from the pre emphasis input to match that of the Omnia 9 e The PEQ button enables the 2 band parametric equalizer When the PEQ is enabled the sliders to adjust center frequency width and gain are available to make any necessary adjustments The PEQ can be set to be phase linear phase forward or phase reverse via the drop down menu below the gain slider Display Settings M
39. dBFS Type 1 PEQ wW Max Gain Gate Threshold 20 00 dB 30 dBFS Speaker amp Headphone Volume Attack 30 4 ae PS aume ARE Navigation E Resize Arrows Bars soi SC PEQ 1 ee Sen Release 30 Ba SC PEQ 2 8 0 dB SC PEQ 3 2 0 dB Expert Navigation Mode Clicking on the Menu button and selecting Expert Mode allows more direct control by displaying more information at once In this mode e The navigation bar and arrows are eliminated e The top portion of the screen is devoted to the display windows e The middle portion of the screen shows the first second and third tier buttons e The bottom portion of the screen shows the third tier controls e You can make individual portions of the window larger or smaller to devote more or less on screen real estate to display windows or control windows by dragging up and down on the re size bars 18 Chapter 4 Home Screen amp User Interface FM Speaker Vol Location LHC Radio ee eee ad 156 0 dB 2 FM Main Digital Rustonium MP Output Multiples Lossy Undo Input 1 Aggressive Unpas 36 2 oe aa pF _ a Lae i ary s oo E ro j sU i a i i dae p mo CEE D E e 6 N i mi Multiband V2 Out M OR Stm Stm Stm Mon Sys Process RDS MPX Meter 1 z5 pag bout pr Input Options S MB MB MB Dry WB WB Band Tier 3 Enh Set AR Thr Voice 2 3 Mix Controls Max Gain Gate mnreshold SC PEQ 2 20 00 dB 30 dBFS oDd
40. drop down controls offer a choice of FM pre emphasized or FM de emphasized audio audio from the HD 1 HD 2 and HD 3 129 Chapter 18 System Menu processing cores depending upon configuration and audio from the Headphone Speaker and Aux monitor outputs e Note FM De emphasized L R is can feed a stereo generator which provides pre emphasis but this scenario does have the potential to cause overshoots which could result in a slight loss of loudness The Omnia 9 should be the ONLY device providing the FM Pre Emphasis Any pre emphasis in the FM Exciter Transmitter should be defeated The corresponding Level sliders adjust the output levels e The AES FM Out 1 and Out 2 drop down controls set the source audio for the Omnia Direct outputs and include L R audio MPX 1 MPX 2 or both MPX 1 and 2 FM Options Menu The FM Options Menu contains controls related to the composite and L R output sections Included here are adjustments and settings for the MPX Power Limit Pilot Level Auto Pilot MPX and L R Output Bandwidth MPX and L R Output Levels Stereo Mode RF Bandwidth Controller L R Codec Safety settings and the built in MPX Test Generator Auto Piot RF Bandwidth MPX2 Output Mode Controller MPX Output MPX Power Limit 0 0 dB System I O Options FM Options MPX Audio Bandwidth 16 5 KHZ L R Output Bandwidth PXI vel 15 00 wv MPXI Output Level 15 dB 16 KHZ Stereo Mode ie V O vel 15
41. estate to work with Non Expert Navigation Mode By default Omnia 9 powers up in the Non expert navigation mode In this mode The top portion of the screen is devoted to the display windows The bottom portion of the screen shows the buttons or controls for the current tier In between these two areas is a navigation bar that shows you exactly where you are within Omnia 9 along with navigation arrow buttons that let you go forward or backward to most places you have visited in the fourth tier Selecting and holding down either of the arrow buttons will bring up a list of these places so you can re visit them directly Double tapping on any of the controls brings up a magnified view that has two large sliders one for a course adjustment and one for a fine adjustment Once you ve made your adjustments tap Done to return to the previous display of all the controls for the tier you re in You can make individual portions of the window larger or smaller to devote more or less on screen real estate to display windows or control windows by dragging up and down on the re size bars 17 Chapter 4 Home Screen amp User Interface Omnia 9 e si a PU 44 9 Speaker Vol 1 s 26 0 dB BY LEIE CLAESSON Undo Input 1 Aggresa ei UR ltiples Los l i If j B 3 Ki A ly Ontrols Presets s BE 48 Dynamics sii Input Decl Gut Home FM Processing Input AGC Ratio Inf 1 Target 12
42. for whatever reason more bands beyond those offered in the Main 1 and Main 2 setting are needed Left EQI Left EQ2 Right EQI and Right EQ2 Menus The Left EQ1 Left EQ2 Right EQ1 and Right EQ2 menus each provide six bands of fully parametric equalization for each Monitor Output 121 Chapter 17 Monitor Outputs Speaker Output Left EQ 1 L Genter Freg 1 L Genter Freg 2 L Genter Freg 3 L Genter Freg 4 L Genter Freg 5 199 Hz 199 Hz 199 Hz 199 Hz 199 Hz L Bandwidth i1 Bandwidth 2 L Bandwidth 3 L Bandwidth 4 L Bandwidth 5 1 00 oct 1 00 oct 1 00 oct 1 00 oct 1 00 oct L PEQ Gain 1 L PEQ Gain 2 PEQ Gain 3 L PEQ Gain 4 PEQ Gain 5 0 0 dB 0 0 dB 0 0 dB 09 0 dB 0 0 dB Monitor Output Menu L Genter Freg 6 199 Hz Bandwidth 6 1 00 oct PEQ Gain 6 40 0 dB The Frequency Width and Gain sliders operate in the same manner as their counterparts in other sections of the Omnia 9 in which a parametric equalizer is offered e 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 equalization Specific instructions for how to use these controls to calibrate your speakers are offered later in this manual 122 Chapter 18 System Menu Chapter 18
43. ii 1163 Hz Attack 30 eae Wnreshold SC PEO 1 3 7 oct SC PEQ 2 1 5 oct SC PEQ 3 0 8 oct 42 dBFS m SC PEQ 1 30 O 2 8 C 3 2 0 Release 30 apie SC PEQ 2 8 0 dB SC PEQ 3 2 0 dB Ciip There are three basic types of controls in Omnia 9 On Off buttons These controls toggle on and off thereby enabling or disabling the associated function Drop down menus provide a drop down list of options Scrolling over each option highlights it while a tap or left click on a mouse selects it e Sliding controls Selecting a slider control highlights it Tapping and holding or left clicking and holding with a mouse a slider allows you to drag it back and forth to adjust its parameter When using a touch interface dragging the slider faster will accelerate the rate of change As long as you haven t lifted your finger or released the left mouse button you can continue to drag the slider beyond the edge of the control all the way out to the very edge of the display Because it is often difficult to make fine adjustments on a small screen when using a touch interface you can double tap a slider to bring up a pop up window with two large sliders one for coarse adjustment and one for fine 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 Process
44. in from the Test Input The Physical Input drop down menu determines the source of the audio feeding the Test Input including Analog Main Digital AES Reference and Aux Digital The Gain control provides adjustment for audio feeding the Test Input 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 Loudness Matched A B Menu Loudness matching for HD works in the same manner as the corresponding section of the FM processing core previously described in detail though the Source and Match options are different Loudness V Options niare OyLUL Matched A B Inactive Maximum Gain 24 dB eee Program Input Integration Time Max Attenuation 12 dB Match Test Input v 1 second e Source audio and Match audio can both come from either the Program Input to the HD core or from the Test Input as selected in the Test Input Menu Display Settings Menu The Display Settings menu here is similar to the one found in the FM processing section but with patch points for the HD processing cores 97 Chapter 16 Streaming Processing amp Encoding Menu Chapter 16 streaming Processing amp Encoding Menu No tra
45. is locked Processing Preset Protection Enter a password to lock Password Protect Preset To password protect a preset enter a password click on OK and then on Protect Preset A warning dialogue box will appear If your intention really is to protect the preset select Yes The final step is saving the new protected preset with a unique name in the Save Preset menu Protected presets appear in green in the Load Preset menu Remember not to accidentally leave an unencrypted version your preset in the Backup Preset slot To un protect a preset return to the Preset Protection menu enter your password click on OK and then on Unlock Preset The Phase Processing menu contains the controls for enabling the phase scrambler enabling and adjusting the phase rotator and enabling and adjusting the Bass EFX control Processing Phase Processing Phase Scrambler poi Phase Rotation Bass EFX i Level 3 Level 3 44 Chapter 9 FM Menu Processing for FM e The Phase Scrambler button enables or disables the phase scrambler Certain sharp sounds with high harmonic content Such as trumpets or some synthesized sounds are low in energy but contain high peaks Since peaks must be limited to prevent over deviation of the FM carrier and the majority of those peaks will be removed by clipping the sound may become dull and distorted The Phase Scrambler without employing limiting or clipping of its
46. issues are so specific to particular locations the only practical way to determine the best setting for your station is by trial and error while driving to locations that are known to be problematic With a Wi Fi hotspot and a laptop or tablet running Omnia 9 s remote software it is entirely possible to make these adjustments on the fly and in real time Note The significance of this feature warrants a detailed explanation Because certain sounds such as stereo mic ed piano the first few notes of My Immortal by Evanescence serves as a good example can cause excessive stereo reception problems Looking at the MPX spectrum of this song in particular you will notice two very tall high frequency peaks One at 37890 Hz and another at 38110 Hz The original audio had a piano note at 110 Hz recorded with stereo microphones and has very little phase correlation between the left and right channels Thus due to the FM stereo system which amplitude modulates the Left Right difference signal by 38000 Hz these two high frequency peaks result You may also notice that they are several dB s stronger than the pilot tone but at twice the frequency When this signal gets frequency modulated as your exciter will do these very tall high frequency peaks will cause very wide sidebands in your RF carrier potentially causing multipath reception problems which would be especially audible here due to the sparse audio content The careful observer
47. make any significant boots to a particular part of the audio spectrum during calibration If you see or hear any clipping during the process turn down the Master Gain control in the Main 1 menu Feeding Pink Noise To the Speakers From the Home menu select Client Audio Client Microphone Input then Input Device from the Home menu of the Omnia 9 client software on the remote PC Your calibrated mic should be available in the device menu You may need to refresh the list to make it visible Return to the Home menu select Monitor Outputs then Speaker Output then Main 1 Turn down the Speaker Volume to a fairly low level then enable Pink Noise for the left channel Turn up the Speaker Volume enough to bring the level of pink noise well above the noise floor of the room and to a level that approximates the volume at which you would normally listen to program material when adjusting your processing As you adjust the overall volume you should see the RTA display respond Final Adjustments to the RTA Once you have established an overall pink noise level adjust the Range control so that you can see the entire spectrum easily on the display normally in the vicinity of 70 80dB Adjust the 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 bright red target window This will allow you to reduce rat
48. own slightly offsets the various harmonics present in the audio to drastically lower the peak level thereby allowing much more of the audio to pass through the final clipper The result is a dramatically improved high end and less distortion 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 as it can adversely affect transient punch desirable on music formats The Level Slider adjusts the amount of phase rotation Carefully monitor the MPX Output signal on the oscilloscope while listening to dry voice and advance the slider just enough to achieve symmetrical peaks The default setting is 2 The Bass EFX menu allows you to enable or disable the Bass EFX feature and when enabled adjust the level of Bass EFX processing When used in conjunction with heavier overall levels of processing Bass EFX helps retain the punch of low frequency transients such as those found in a kick drum by spreading the bass energy out in time thus allowing more of the energy of a bass kick to pass through the clippers Bass EFX does not itself add energy Downward Expanders Menu The Downward Expanders menu allows you to control the maximum gain reduction downward expansion for all bands in the Downward Expanders section as well as the threshold attack and release speeds for each individual band The total number of
49. quieter passages or pauses If the display is sized and configured in such a way that the Input AGC meter is shown vertically a Gate condition will be indicated by a dim dark red bar at the bottom of the meter A Freeze condition will be indicated by a brighter dark red bar The Input AGC features a fully adjustable 3 band Sidechain Equalizer which allows you to make it more or less sensitive to particular frequencies When the controls are not set to cut or boost any frequency the Input AGC reacts to the full audio spectrum When set to cut or boost a particular range of frequencies the Inout AGC becomes less sensitive cut or more sensitive boost In some earlier software versions the sidechain EQ was not adjustable it was simply enabled or disabled For reference the hidden PEQ settings were a 4 0 octave wide cut of 20dB at 20Hz and a 2 9 octave wide cut of 10dB at 2343Hz In addition an assortment of pre configured filters are available including a Low Pass Filter a High Pass Filter a Band Pass Filter a Notch Filter a Low Shelf EQ and a High Shelf EQ e The Type drop down menu determines what type of EQ or filter is employed The Frequency slider is used to set the center frequency for each band The range of this control is 20 to 22 050Hz e 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 oc
50. select the maximum number of each type of encoder available AAC MP3 WMA MP2 and Vorbis System System Config Streaming Encoders 4 Maximum number of AAC encoders 2 Apply Config Maximum number of MP3 encoders 2 Maximum number of WMA encoders 1 Maximum number of MP2 encoders 0 Maximum number of Vorbis encoders 0 e Selecting the Apply Config button will places any changes you have made into effect This will take your station off the air and disconnect all streams for a few seconds Password Menu The Password menu allows you to password protect your Omnia 9 142 Chapter 18 System Menu System System Config Password Current Password Enter Password Repeat Password Clear Password e Selecting the Enter Password field brings up the on screen keyboard for entering a system password which must be entered again in the Repeat Password field for verification To lock the front panel touchscreen select the Menu button on the Home Screen and choose Lock Front Panel To clear the passwords leave both the Enter Password and Repeat Password fields empty and select Clear Password e To unlock the unit enter your password and select Unlock If you forget your password Omnia support can help you unlock your unit The Power menu provides a means by which to restart or shut down your Omnia 9 and adjust the front panel display timeout System Config Display Timeout Never Power
51. start to sound processed The 7 band Zenith was created to answer that question Always open and natural sounding in exchange for overall spectral and loudness consistency this preset lets the music be what it was intended to be with just a little push in the right direction 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 Chapter 21 Remote Interface Software Omnia 9 Remote Interface Software The Omnia 9 remote interface software NfRemote is a separate client software application that can be downloaded and installed on nearly any desktop laptop or tablet PC of reasonably modern vintage running on Windows 2000 XP Vista 7 or 8 With just a few differences which will be discussed in this chapter this client software looks and operates exactly like the front panel controls of the Omnia 9 itself including touchscreen support on PC s providing that feature to provide a familiar and feature rich means of controlling your Omnia 9 remotely If you can do it on the front panel you can do it via remote a feature you ll appreciate if your Omnia 9 is located in a noisy rack room at the transmitter site or even thousands of miles away at a distant station you oversee Perhaps one of the most valuable capabilities of the client software is speaker calibration Since your Omnia 9 already
52. the audio path but its patch point remains an available option for viewing on the oscilloscope or RTA via the Display Settings menu 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 The Maximum Gain Ratio Attack rate Release rate Target Gate Threshold and Freeze Threshold controls work in the same manner as their counterparts in the other sections of the Omnia 9 However the Maximum Gain control in the Wideband AGC1 section has a range of 24dB The Maximum Gain Reduction control sets the maximum amount of gain reduction possible in the Wideband AGC1 compressor and is adjustable from 0 to 24dB in one quarter dB increments 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 reduction At a setting of 0 the control has no effect and the Release speed control fully determines 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 e The 3 band Sidechain Equalizer can be used to make the Wideband AGC1 more or less sensitive to the frequencies determined by the Frequency Width and Gain controls whic
53. the digital inputs you may wish to turn this control off as clipping present on the CD itself may trigger the Clip Warning e The High Pass Filter drop down menu allows you to completely disable the filter or set its frequency to your choice of 15 30 45 60 70 80 90 or 100Hz The 60 70 80 90 and 100Hz filters are extremely sharp completely eliminate hum and rumble and are useful for an all talk format or a station that still plays live vinyl The default setting is 30Hz It is worth noting that the HPF is phase linear e The Low Pass Filter drop down menu allows you to completely disable the filter or set its frequency to 17 000 17 500 18 000 18 500 19 000 19 500 or 20 000 Hz Source Adjustment Menu The Source Adjustment menu contains the controls to set the input gain invert the polarity of the input audio and set the input mode independently for the Analog Main Digital AES Reference and Aux Digital physical inputs 127 Chapter 18 System Menu System 1 O Options Source Adjustment Analog Main Digital AES Reference Aux Digital Input Gain 8 0 dB Input Gain 11 5 dB Input Gain 11 5 dB Input Gain 11 5 dB Invert Off Invert Off Invert Off Invert Off _ 4 Mode L R Mode L R Mode L R Mode L R e The Input Gain control allows you to adjust a variable gain stage after the clip detector and can be used to boost levels to meet Omnia 9 s reference input level as indicated by a green color on the in
54. the occasional exception so you ll find no Urban Open Country Rock or Smooth Jazz badges here With conventional naming many 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 extra punch Instead we encourage you to audition each preset preferably on the bench and not on the air at first to get a feel for each Listen for a spectral balance that appeals to you first and then for texture without much consideration for loudness Most of the presets minus the ones specifically created for maximum loudness have plenty of room to grow in terms of loudness so if you find something you like but it doesn t seem quite loud enough don t summarily dismiss it instead try it out and use the suggestions in the Getting the Sound You Want chapter of this manual to up the loudness Finally we are often asked how best to create a custom preset from scratch Since all custom presets are initially based upon a factory preset we recommend building off of Reference Settings since it is the most neutral sounding factory preset and one upon which many of the factory presets themselves were built 1981 A O92 by Jesse Graffam Designed to capture the spirit of one of the most famous analog processing setups of the 1980 s 1981A O92
55. the preset list has been updated to include only those specifically designed for BS 412 use There is also an additional Power Limit menu option 70 Chapter 10 FM Menu Processing for ITU R BS 412 Processing Load Preset Eruption 412 Current Preset Rustonium 412 Fortress 412 Recall Backup Echoes 412 Public Radio 412 Load Rustonium 412 Upsidaisium 412 Diff Preset Delete Preset Zenith 412 In addition the Processing Meters display window now includes a meter for the Power Limiter and three meters showing output levels over 10 second 30 second and 60 second integration times Omnia x a f P J TA 2 j Loc Local Omia 9 Power Limiter 2t Meter FM Analog Rustonium 412 mM ae St Enh Output Levels 10s 30s 60s Integration 42 J6 30 C 1 Home z Processing Processing Power Limit Peak Limiter Drive 1 25 dB Power Limiter Drive 2 00 dB Punch coupled Limiter Style Standard Ww e The Peak Limiter Drive control sets the amount of limiting performed by the final peak limiters and has a 12dB range and is adjustable in one quarter dB increments These limiters are the same type used in the HD and Streaming cores and are situated before pre emphasis 71 Chapter 10 FM Menu Processing for ITU R BS 412 e The Power Limiter Drive control determines the amount of limiting performed by the MPX Power Limiter with a range of 12dB adjustable in one quarter dB increments e Advan
56. the sound and then re evaluate it the next day If it still sounds good STOP If it doesn t make a few adjustments and walk away for another day DO use the Save As method of naming and saving your custom presets rather than over writing them This will allow you to return to any point in your adjustments if you get too far off track and 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 presets start life as a factory preset but the most straightforward neutral sounding factory preset is Reference Settings and as such provides the closest thing to a blank canvas possible for building your own preset from the ground up 14 Chapter 4 Home Screen amp User Interface Chapter 4 Home Screen amp User Interface Getting touchy feely with the GUI and learning your way around the front panel display Chapter 4 Home Screen amp User Interface Home Screen amp User Interface At the Top of Every Screen The Menu Bar at the top of the Home Screen shows the current processing core being viewed the location of the particular Omnia 9 user customized the CPU load a Speaker Volume control a Headphone Volume control a Menu button and 6 display preset buttons e WARNING Operating additional HD or Streaming processing cores encoding multiple streams connecting mult
57. the unit set a display timeout establish an IP white list for remote HTTP access assign an IP address to the unit and set up SNMP You can also check the software and GUI versions save your custom configurations to a USB drive update to the latest software versions and if you purchased an Omnia 9 without the additional HD and streaming capabilities unlock additional HD and streaming cores via software key System Config Sample Rate Processing Cores Streaming Encoders Password Power IP Configuration Outbound Connection HTTP Access Software Update Backup Upgrades TCP Link Status Sample Rate Menu The Sample Rate menu lets you choose the internal sample rate at which Omnia 9 will run either 44 1kHz or 48kHz The default rate is 44 1kHz Be sure to select Apply Config to put the changes into effect keeping in mind that doing so will cause an interruption to program audio as Omnia 9 re starts 140 Chapter 18 System Menu System Config Sample Rate Sample Rate 44099 96 Hz Buffer size 882 Sample Rate 44100 Ww Apply Config The Processing Cores menu allows you to choose the type and number of FM HD and streaming processing cores available enable MPX Power Control for ITU R BS 412 Compliance and enable the studio processing core the composite inputs an additional auxiliary monitor output Home System System Config Processing Cores 4 b FM MPX Only v Studio Cores 1
58. the unit is advisable Physical Installation and Initial Configuration Connect AC power to both of the internal power supplies There is no power switch Failure to use both power supplies is interpreted by the unit as a failure in one of the supplies and will result in an audible alarm which can be silenced by pressing the small red button between the supplies lt is always possible for a supply to fail and so having redundant supplies does help protect you against losing power altogether in that event However it is far more likely that the unit will lose power because of an interruption in the circuit feeding the unit Therefore good engineering practice dictates that each supply should be fed from different sources At minimum we recommend that both should be a good quality UPS with adequate surge protection Ideally each would be fed from a completely different circuit for maximum redundancy Next connect the audio inputs as appropriate for your installation Omnia 9 accepts balanced professional line level analog audio via its Left and Right Inputs in the Main Analog I O section of the rear panel or AES EBU digital audio on standard XLR connectors via its Main and AES Reference Inputs in the Main Digital I O section of the rear panel and Aux Digital Input in the Aux Digital I O section Main Analog I O Main Digital I O amp Aux Digital I O COMPOSITE I O LEFT In RIGHT In AES Reference SCA Bypass In LEFT Out RIGHT Out Main FM Out 1 Ma
59. when you play music through your calibrated setup for the first time and wonder if someone swapped out your tired old monitors with something new and much more expensive Saving Your Calibration Settings You can save your calibration settings in the form of a preset by going to the Save Preset menu and typing in a friendly name for your file preferably one that uniquely identifies the speakers and location JBL 4312 FM Air Tweaking After Calibration 169 Chapter 21 Remote Interface Software You may notice that while your speakers sound significantly better than they did before you calibrated them and they are technically much more accurate they sound a little thin in the low end and a little dull in the highs because of the way the human ear perceives sound at the far ends of our hearing range We suggest that instead of making changes to the EQ sections you use Omnia 9 s Loudness 1 and Loudness 2 menus to make subjective adjustments These menus each give you three additional bands of fully parametric equalization If desired they also allow you to adjust at what point on the Speaker Volume control the changes take affect since our ears are less sensitive to certain frequencies at lower volume levels e The Minimum slider on each EQ band sets the point on the volume control where the EQ has no effect on the sound The Maximum slider sets the point on the volume control where the EQ in that band is in full effect
60. will draw and keep listeners for longer periods of time without having to worry about all out loudness In any case it is best to start with a goal in mind and work toward it carefully and deliberately Tweaking and Fiddling One big temptation when installing a new processor is fiddling with every available control and there is no shortage of those in Omnia 9 There s really no better way to find out what each control does but experimentation and exploration are probably best done on the bench before you put your new acquisition on the air That way you re free to tweak away without having to worry about jeopardizing your on air sound or being unnecessarily timid about making adjustments because you don t know what affect they will have Another suggestion for getting to know your way around Omnia 9 is to find a factory preset that you like and then go exploring in the various menus to see how that sound was achieved For example let s say you find a preset with a smooth open sound which matches your general processing goal As you explore you might find some controls set as you would expect to deliver that sound but you may also find some unexpected settings that make more creative use of Omnia 9 s controls There is much to be learned by studying Once you are comfortable with navigating through Omnia 9 s menus and have a good understanding of how its controls operate you re ready to take it for a test drive on the ai
61. 0 Weight 2 10 Weight 2 12 DD 1 DD 2 DDS DD 4 DD5 Weight 3 12 Weight 3 20 Weight 3 100 Weight 3 20 Weight 3 15 ee 3 DD 2 DD 3 DD 4 DD 5 N J r 2 a 5 3 LU ajag Weight 4 12 Weight 4 20 Weight 4 100 Weight 4 35 e DD 4 DDS Weight 5 0 Neig 0 3 W me gt i DD 1 Weight 5 DD 2 Weight 5 DD 3 Weight 5 Weight 5 20 Weight 5 100 To put this concept into traditional processing terms it is similar to band coupling in a multiband compressor where all bands may operate completely independently of one another or may influence one another by way of coupling to varying degrees The degree to which each dynamics detector band influences and controls each expander band is determined by a 5 x 5 slider matrix Each column represents a dynamics detector band while each row represents an expander band The default and recommended settings are set up so that each expander band controlled almost entirely by its corresponding dynamics detector band but with some control provided by surrounding dynamics detector bands Higher values mean a particular dynamics detector band has more influence over a particular expander band and vice versa Please note that in order to provide a means by which to allow one dynamics detector band to provide 100 of the control over a single expander band every control must be designed to go all the way to 100 When one control is set to 100 and other controls in that band are set to a value highe
62. 0 dB nee Invert Left Bass Lim cpl Lim coupled Master Gain oar m Bass Limiter Thr L bimiter thr E 0 00 dB Dh jlo Posas ils 0 00 dBFS 0 00 dBFS Bass Limiter R Limiter thr R aay ON 0 00 dBFS 0 00 dBFS Common L R EQ Common L R Delay The Volume and Master Gain controls are duplicates of those found in the Main1 menu but are found here as well for convenience When enabled the Common L R EQ control couples the left and right channels together in the parametric equalizer so that any changes make to the left channel will also be made in the right eliminating the need to make the same adjustments twice Disabling this control allows you to EQ the left and right channels differently This can be useful if for instance one speaker is placed in the corner of a room while the other is not resulting in a different bass response at the monitoring point The Delay All control allows you to delay the audio output of the Speaker and Headphone outputs The Delay Left and Delay Right controls provide a means by which to delay one channel independently of the other 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
63. 00 dB decS 170 Dual Sideband v MPX2 Output Level 15 00 d L R Codec Safety Off MPX1 Output Mode L R Test Generator vel 9 0 Piot Level 9 0 MPX Output Off v MPX Test Generator ji The MPX Power Limit slider is used to set the MPX power as appropriate for particular countries when MPX Power is enabled The Pilot Level control allows you to set the level of pilot injection over a range of O to 20 in one tenth dB increments Auto Pilot is a feature that automatically turns off the pilot when mono audio is detected which can help reduce multipath distortion and eliminate stereo noise when it is most noticeable such as on dry voice The MPX Output Bandwidth control gives you the choice of setting the bandwidth of the composite outputs to either 16 5kHz or 16kHz 16 5kHz is fully compatible with all receivers and is the recommended setting The L R Output Bandwidth slider performs the same function for the Left Right outputs but with a choice of 15 15 5 16 or 16 5kHz e Note If you are using a 32kHz STL you will need to set the L R Output Bandwidth to 15 or 15 5 to prevent over modulation 130 Chapter 18 System Menu e The Stereo Mode control allows you to choose between single sideband SSB or dual sideband DSB operation e Enabling the RF Bandwidth Control can tightly control the RF bandwidth to reduce multipath problems The Strength slider determines the amount of control applied Because multipath
64. 1 l v Main FM Out 2 Level 0 0 dB LIR Audio ppa a i AES FM Out 2 Ww Aux Out Level 0 0 dB L R Audio Ww Analog Out Speaker Out D For example the Main FM Out 1 might be set to FM Pre emph L R in order to output pre emphasized audio for the main FM channel which will be de emphasized later in the chain Main FM Out 2 might be set to HD 1 to route audio destined for the HD 1 path Aux Out may be set to HD 2 for audio being sent to the HD 2 path 173 Chapter 22 Frequently Asked Questions FAQ If Omnia 9 is located at the transmitter one of the two rear panel composite outputs can be used to feed the main FM audio directly to the exciter This is also true if Omnia 9 is located at the studio feeding a composite STL In these cases adjustments to the output are made in the System gt I O Options gt FM Options menu System I O Options FM Options Pre Emphasis MPX Audio BW _ Output Level L R Out BW 75 us 16 5 KHZ 15 00 dB 16 KHz z Stereo Mode utput Level L R Codec o EREE 9 0 Dual Sideband Y 15 00 dB safety off MPX1 Mode L R Test Gen shh iai MPX Output Y ii RF Bandwidth MPX2 Mode Controller MPX Output mava ji MPX Test Gen Oil vv Input levels are set in the System gt I O Options gt Source Adjustment menu I O Options Source Adjustment Analog Main Digital AES Reference Aux Digital Input Gain 8 0 dB Input Gain 11 5 dB Input Gain 11 5 dB Input
65. 1 Wideband AGC 2 and Wideband AGC 3 sidechains as well as the actual output audio from each of those stages The Multiband Solo menu allows you to individually monitor the audio in each band of the multiband AGC Load Preset Menu Because Omnia 9 provides all of the tools minus a calibrated microphone to perform speaker room calibrations for each of the Monitor Outputs it also provides a way for you to store those calibrated settings in the form of presets It is important to remember that this menu refers to presets you create and save yourself for speaker calibrations within each of the three Monitor Outputs These are not the same as your processing presets However the menus work in the same way The Load Preset menu allows you view the preset you are currently feeding to the particular Monitor Output toggle back and forth between the current and backup presets load a new preset compare the settings of two presets and delete user presets 116 Chapter 17 Monitor Output Menu Monitor Outputs Speaker Output Load Preset Current Preset Reference Settings Reference Settings Load Reference Settings Diff Preset Delete Preset 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
66. 138 Chapter 18 System Menu GPI Function A D GPI Function E H The GPI Enable control is used to turn GPI on or off Please note that GPI must be disabled in order to edit and configure the individual GPI functions GPI Enable wo e The Function control in each GPI channel A through H determines which available parameter is affected when the input signal is received e The Lo and Hi controls work together to determine the specific action that occurs to the parameter selected by the Function control Pins 2 through 9 are GPI inputs 1 through 8 Pins 18 through 25 are ground If a system is using relay logic a contact closure from GPI to ground is engaged and an open contact is not engaged If supplied by a 5V GPO OV is GPI engaged and 5V is GPI not engaged A 3 3V signal will also work 139 Chapter 18 System Menu For continuous behavior use one GPI for the action as follows LO Setting 1 HI Setting 2 For momentary behavior use two GPI s for the action as follows GPI 1 LO Setting 1 e GPI 1 HI No change e GPI 2 LO Setting 2 e GPI 2 HI No change Always remember to re enable GPI after making any changes System Configuration Menu The System Config menu contains the controls to select an internal sample rate determine how many processing cores are available how many streaming encoders of each variety are available set a system password power cycle or shut down
67. 22 Frequently Asked Questions FAQ System Config Password Current Password Enter Password Repeat Password Set Password To set up an IP address navigate to the System gt System Config gt IP Configuration menu from the front panel Click on Use DHCP to enable Omnia 9 to receive an IP address from your DHCP server If after a period of 30 60 seconds the internal loopback address is still displayed Omnia 9 isn t communicating with the DHCP servers and there are network issues outside of the unit to explore System Config IP Configuration IP Address 192 168 1 20 Use DHCP m Ping is not supported Apply use HTTP Port 7380 to test While it is beyond the scope of this manual to provide specific IP troubleshooting advise we can suggest the following basic steps e Try using a different Ethernet cable to rule out that a bad cable is at fault e Plug Omnia 9 into a different port on your router or switch to rule out a bad port e Plug Omnia 9 into a different router or switch altogether to eliminate a bad piece of hardware e 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 e Using a computer that is already known to work on the network use an Ethernet cable to connect Omnia 9 directly to that computer In most cases the computer will act as an ad hoc DHCP server and atte
68. Cycle Safe Shutdown The Power Cycle option safely shuts down the unit and restarts it akin to a computer reboot 143 Chapter 18 System Menu e The Safe Shutdown option properly and completely shuts down the unit This function is available only on the front panel not through the remote software as accidentally pressing it could result in an unplanned visit to the transmitter site e The Display Timeout menu determines how long the front panel display remains on after it was last used It can be set to stay on for 10 minutes 1 hour 10 hours or 24 hours The default setting is 24 hours e Note This applies only to units with serial number 0026 and later and is not shown as an option on the earliest units regardless of software version IP Configuration Menu The IP Configuration menu allows you to assign an IP address to the Omnia 9 and enter subnet mask and gateway information for your network System Config IP Configuration IP Address 192 168 1 20 Use DHCP Ping is not supported fated use HTTP Port 7380 to test e The Use DHCP button allows your local router to assign an IP address to the unit e Selecting Apply puts any changes you have made to these parameters into effect after a few seconds Outbound Connection Menu Normally an instance of NfRemote running on a remote computer initiates the connection to the host PC running Omnia 9 inbound connection
69. Faster settings will make Undo more reactive to smaller incoming peaks by raising the threshold Slower settings will effectively lower the threshold 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 Omnia 9 l BY LEIF CLAESSON Peak Blips Average Input 1 Level M ete rs 36 j q EEE an SE 4 aor z g 12 z E i4 36 z Dynamics Expansion Ratio Expander Thresholds Multiband Exp Speed Governors Input Declipped Output The Expander Levels menu gives you access to the Relative Threshold Band lt Wideband Distance Limit and Maximum Gain controls of each band of Undo s expanders 36 Chapter 8 Input Undo Menu Input 1 undo Expander Levels 4 Bi Relative Threshold 6 50 Bi lt WB Distance Limit 11 dB Bi Maximum Gain 6 00 dB B2 Relative Threshold 7 50 B2 lt WB Distance Limit 7 dB B2 Maximum Gain 6 00 dB B3 Relative Threshold 8 50 B3 lt WB Distance Limit 10 dB B3 Maximum Gain 6 00 dB B4 Relative Threshold 9 00 B4 lt WB Distance Limit 10 dB B4 Maximum Gain 6 00 dB B5 Relative Threshold 9 00 B5 lt WB Distance
70. LLIANCE Omnia 1241 Superior Avenue East Cleveland Ohio 44114 USA Tel 1 216 241 7225 Fax 1 216 241 4103 omniaaudio com 196
71. ON SC PEQ 1 3 7 oct SC PEQ 2 1 5 oct SC PEQ 3 0 8 oct 42 dBFS Release 30 ae SC PEQ 2 8 0 dB SC PEQ 3 2 0 dB e The Ratio control determines how much the output audio will be increased or decreased in relationship to the input audio of the Input AGC section For example a ratio of 3 1 means for every 3dB of change in the level of the input audio the output will be changed by 1dB Lower looser settings provide less control of the dynamics in this section but provide a more open sound while higher tighter settings provide more control at the expense of openness The range of this control is 1 0 1 to Infinity 1 e The Maximum Gain control works in conjunction with the Ratio control to determine how much gain is available below threshold If the Input AGC Ratio is set at Infinity 1 and the Input AGC Maximum Gain is set to 36dB the Input AGC has 36dB of range below threshold At a ratio of 2 0 1 and the same Maximum gain setting the range is reduced by half to 18dB The scale to the left of 46 Chapter 9 FM Menu Processing for FM the Input AGC meter automatically adjusts as needed when changes are made to the Input AGC Maximum Gain or the Input AGC Ratio to accurately reflect how much range is available below threshold 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 in
72. Omnia 9 All you can imagine And more Installation amp User s Guide Written by Jim Kuzman Telos Alliance Technical Writer Version 0 54 Revised November 20 2013 Table of Contents Getting the Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Most From This Manual The Omnia 9 Story Quick Startup Guide General Processing Advice Home Screen amp User Interface Reading the Processing Meters The Home Menu Input Source Audio Menu Undo Menu FM Menu Processing for FM FM Menu Processing for ITU R BS 412 MPX Power Limiting FM Menu RDS FM Menu MPX Inputs FM Menu Meter Options Studio Processing Menu HD Processing Menu Streaming Processing amp Encoding Menu Monitor Output Menu Table of Contents Page 3 Page 5 Page 8 Page 12 Page 15 Page 20 Page 23 Page 25 Page 29 Page 40 Page 69 Page 73 Page 81 Page 85 Page 90 Page 93 Page 98 Page 111 System Menu Getting the Sound You Want Factory Presets NfRemote Client Software Frequently Asked Questions FAQ Signal Path Diagrams Specifications Page 123 Page 150 Page 154 Page 161 Page 171 Page 179 Page 193 Getting the Most From This Manual Getting the Most From This
73. Path Diagrams Pre emphasis Patch Point Pre emph Patch Point Used only for the L R Clipper If using an external stereo coder not recommended FFT Spectrum and Oscilloscope can view any channel RTA and Monitor Out can use only listenable channels File Recorder records only source channels Source Source Listenable Listenable 185 Chapter 23 Signal Path Diagrams Undo Undo Actually 5 bands only 2 bands are shown Imagine if we showed all 5 for simplicity A gt To B1 Exp Ratio Input To B2 Exp Ratio Input To B1 Exp Threshold Input lt To B2 Exp Threshold Input 186 Chapter 23 Signal Path Diagrams Input AGC WB AGC1 Input AGC and Wideband AGC 1 187 Chapter 23 Signal Path Diagrams WB AGC2 AGC3 Post Multiband Wideband AGC 2 3 Post Multiband Mode Multiband is mixed down to two bands before this stage 4 channel coupled wideband 3 channel v r ra lD rt rf 188 Chapter 23 Signal Path Diagrams WB AGC AGC3 Bass Wideband Wideband AGC 2 3 Bass Wideband Mode Shown with 5 bands In 2 and 3 band mode only Band 1 goes through the compressor 4 channel coupled _ wideband _ Fy gt I 189 Chapter 23 Signal Path Diagrams WB AGC2 AGC3 Bass Only Wideband AGC 2 3 Bass Only Mode Shown with 5 bands In 2 and 3 band mode only Band 1 goes through the compressor 190 Chapter 23
74. Ratio Meters Show Speed Governor Meters Show Expander Threshold Meters The De clipper menu contains a single control to set the level of de clipping in 5 stages Lower settings offer more conservative de clipping action while higher settings offer more de clipping Perfect Declip by Hans van Zutphen Declip Level 5 Version 2 00 Normal declipping 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 has been cleanly mastered you may find lower settings are sufficient The most effective way to monitor exactly what the de clipper is doing is to view the pre de clipper and post de clipper waveforms side by side using Omnia 9 s built in oscilloscopes Details of how to configure the display windows and set up the oscilloscopes are provided in the Display Settings section of the manual Each band of Undo s expander has a corresponding density detector The Density Detector Band Weighting controls allow you to determine how much control each detector provides its own band as well as any other expander band 33 Chapter 8 Input Undo Menu Density Detector Band Weighting DDI DD 2 3 Wei 0 4 W i Weignt 1 0 Weight 1 100 Weight 1 20 DD 3 Weight 1 DD 4 Weight 1 DD 5 Weight 1 Input 1 DD 1 DD 2 DD 3 DD 4 DD5 Weight 2 19 Weight 2 100 Weight 2 2
75. Signal Path Diagrams Multiband Processing Omnia 9 multiband processing Double lines signify multiple bands 191 Chapter 23 Signal Path Diagrams Speaker Controller Speaker Controller Used for Monitor Outputs Speaker Headphone Aux Also used for Client Audio Monitoring 192 Chapter 24 Specifications Chapter 24 Specifications Riveting and compelling facts and figures 193 Chapter 24 Specifications Specifications Preliminary specifications at the time this manual was printed are provided here Frequency Response e 0 5dB 20Hz to 15kHz 16 5kHz in extended mode Signal to Noise Ratio e Greater than 80dBu de emphasized 20Hz to 15kHz System Distortion e Less than 0 01 THD below pre emphasis inaudible above Stereo Separation e 65dB minimum 20Hz to 15kHz 70dB typical Average Temperature in Thailand in December e 77 F 25C Digital Output Level e Adjustable from 24dBFS to 0 0dBFS in 0 1 dB increments Stereo Baseband Output e Adjustable from 24 0dBFS to 0 0dBFS in 0 1 dB increments A D Conversion e Crystal Semiconductor C55361 24 bit 128x over sampled e Delta sigma converter with linear phase and anti aliasing filter e Pre ADC anti alias filter with high pass filter at lt 10Hz e MPX Inputs have high pass filter lt 0 1Hz D A Conversion e Crystal Semiconductor CS4391 24 bit 128x over sampled e External sync input e Per AES11 Digital Audio Reference Signal DARS refe
76. The dB Scale Position control allows you to move the dB scale horizontally to a different place in the display Advancing the control completely to the right places it in front of the graph at all times Below are some examples of how to use the FFT menu As a pilot protection monitor e Display the MPX Output e Set Resolution to 8x e Set Decay Rate to 6 67 Chapter 9 FM Menu Processing for FM e Set Peak Hold to On e Set X Center to 19kKHz e Set X Width to 4kHz e Set Y Center to 90dB e Set Y Range to 100dB e Set dB Scale Position to 36 TO eae the RDS subcarrier e Display the MPX Output e Set the Resolution and Decay rate to any setting Set Peak Hold to Off Set X Center to 57kKHz e Set X Width 10kHz Set Y Center to 80dB e Set Y Range to 100dB e Set dB Scale Position to 100 68 Chapter 10 FM Menu Processing for ITU R BS 412 Chapter 10 FM Menu ITU R BS 412 Processing MPX Power Limiting Develop a built in BS detector Ernest Hemingway 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 with a rolling 60 second integration time However since it is impossible to know what lies ahead in terms of content loudness must be practically be controlled within a much shorter period of time just in case The facto
77. Version 2 25 10 FPGA ver 0x90000009 The Network Information section provides information including the host name IP address and MAC address of the unit It also indicates how many users are remotely connected the remote port number and the security level of the current user System Status Network Information Host Name OMNIA9 01001 Remote Connections 2 IP Address 172 22 22 125 Remote Port 7300 MAC Address 4C 72 B9 31 67 62 Current User Administrator The Audio I O Status section shows the current system sample rate as well as detailed information about audio input and output configurations 125 Chapter 18 System Menu System Status Audio VO Status Sample rate 44100 Main Process Buffer size 512 44098 41 Hz LL 44098 41 BS 64 J 10 W 0 HO RO The I O Options menu has various sub menus including Load Preset Save Preset Input or multiple inputs depending upon configuration Source Adjustment Diversity Delay Silence Detection Main Outputs and FM Options I O Options Load Preset Save Preset Source Adjustment Diversity Delay Silence Detection Main Outputs FM Options All I O settings in the Input Source Adjustment Diversity Delay Silence Detection Main Outputs and FM Options can be saved to an I O preset file This makes it very easy to return to a known good configuration if you make a change to one of these settings and need a quick way to get back home or if you want t
78. WMA Windows Media Audio encoder menu allows you to enable or disable the stream adjust its output gain enter the stream s title and select the encoder type and format 108 Chapter 16 Streaming Processing amp Encoding Menu Streaming 1 Streams WMA Encoder Encoder Stream Title Omnia 9 Stream Disabled Windows Media Audio 9 Professional Format P 128 kbps 44k 2ch CBR Gain 0 0 dB The Title field allows you to enter the name of the encoder e The Enable control enables or disables the stream When enabled the encoder will continually try to connect to the specified server The Encoder menu lets you choose between Windows Media Audio 9 and Windows Media Audio 9 Professional e The Format menu allows you to choose a combination of bit rates and sample rates to determine the quality of the audio stream e The Gain control determines the final output level of the encoder The WMA Server menu allows you to input and set up your server settings Streaming 1 Streams WMA Server 4 Stream Title Omnia 9 Push Genre 80s 90s Push URL http www omniaaudio com 9 Stream Disabled Push Template Pull Port 2700 User name source Max Pull Clients 0 Port Closed Password The Title field allows you to enter the name of your audio stream 109 Chapter 16 Streaming Processing amp Encoding Menu The Genre field is also a metadata field The type or style of content found on the stream i
79. Want to look smart in front of co workers by staring intently at block diagrams This chapter is for you 179 Chapter 23 Signal Path Diagrams Signal Path Diagrams Many users of the Omnia 9 will be content with plugging it in making the necessary I O connections picking a preset then sitting back to enjoy the amazing aural delights and effortless dial dominance it provides Some will want to make changes to achieve a truly custom sound Still others will want to explore every nook and cranny of the menu system to discover every available control there are nearly 4 500 points of adjustment when all features and cores are active best to pull 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 It is for that crowd that we have provided the following flowcharts showing various signal paths within Omnia 9 180 Chapter 23 Signal Path Diagrams Physical Inputs Rear Panel Software 1 0 Board V _ C 1 If any AES signal is present on the AES Reference input that becomes the reference The rate of the signal must match the system sample rate selected on the front panel If it doesn t all I O will mute including analog and MPX 1 0 as the entire system is driven from the same incorrect clock source 181 Chapter 23 Signal Path Diagrams Input Output Overview Omnia 9 1 0 Overview i Undo on Input J i
80. 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 After changing any parameter of a preset an M appears next to the Current Preset name and the text turns yellow to indicate the preset has been modified but not yet saved The Backup Preset also becomes the former and unmodified Current Preset This allows you to toggle back and forth to hear the difference between the original and modified presets on air by simply clicking the backup button to swap the current and backup slots Changes to each parameter you adjusted to create the modified preset are also displayed in yellow on the specific control button in each section of the processing core providing an instant visual comparison between the modified preset and the original preset upon which it is based You can also compare the differences between the Current Preset and the Backup Preset by selecting the Diff Preset button Any control settings in the Current Preset that are different from those in the Backup Preset will be displayed in yellow in their respective sections In addition the backup value of each control is indicated by a small arrow on the bottom of the control itself Selecting the Delete Preset button allows you to permanenily delete user created presets Factory presets c
81. and compressor before the multiband section only after It can however be used in the Bass Only or Bass Wideband mode just like Wideband AGC2 Processing Wideband AGC 3 Max Gain 0 00 dB Max G R 6 00 dB Release 50 Gate Thr 30 Sidechain Delay Prog Rel 50 Oms SC PEQ 3 40 0 dB 0 0 dB 40 0 dB Band Mix Menu The Band Mix Menu allows you to adjust the final output of each band after all Wideband and Multiband processing has been applied It can be used very effectively to tailor the overall spectral balance of your sound but keep in mind that this is the final point of adjustment before the audio reaches the Final Clipper FM core or Final Limiter HD and Streaming Cores In other words levels increased in the Band Mix section can only be controlled by final clipping or final limiting which may result in unexpected or unwanted density on some material so care is required when making adjustments here 55 Chapter 9 FM Menu Processing for FM Home eM Processing Band Mix 4 Band Mix coupled Bi Level 0 25 dB B2 Level 0 75 dB B3 Level 1 00 dB Each Band Level control has a range of 12 to 12dB in one quarter dB increments e The Band Mix coupled control allows you to adjust the output of all bands in the Band Mix section simultaneously and by an equal amount The Clipper Menu provides control of the final clip drive bass c
82. annot be deleted Save Preset Menu The Save Preset menu allows you to edit the name of or save over a user preset Processing Save Preset Current Preset Rustonium Rustonium Edit Preset Name Save Preset e You can rename your current preset regardless of whether or not is has been modified by selecting the Edit Preset Name button to bring up the on screen keyboard Type in the new name select OK and select Save Preset The new preset will now appear in the list e If your Current Preset has been modified you also have the option to write over the existing preset without renaming it by selecting Save Preset That said we strongly recommend that after you ve made some adjustments and are ready to save those changes to a Custom Preset you give it a unique name and instead of saving directly over your current version That way should there come a time when you want to revert to a previous incarnation of a preset you can do so You cannot however if you continually save over the same preset throughout your adjustment process instead of giving it a unique name Keep in mind that you cannot give a Custom Preset the same name as an existing Factory Preset 43 Chapter 9 FM Menu Processing for FM The Preset Protection Menu allows you to password protect a preset so that it cannot be modified or copied for use in another Omnia 9 In addition the settings for this preset will be hidden from view as long as the preset
83. at the audio has been processed e The Stereo decoder information control when enabled identifies the station as broadcasting in stereo as opposed to mono e When enabled the Artificial Head decoder information control indicates the use of a binaural microphone The Traffic Announcement TA flag when enabled can stop the playback of other media a CD for example and tune in a broadcast station instead when a traffic bulletin is received Turning the Traffic flag on and off could be automated through a request to Omnia 9 s built in http server e When enabled the Music decoder information control identifies the station as one which broadcasts primarily music content as opposed to speech which in turns allows the receiver to choose between the volume levels for each type of content Turning this flag on and off could also be automated through a request to the http server Station ID Menu The Station ID Menu provides fields for entering Program Service PS and Radio Text RT information as well as the Program Information Pl Code 78 Chapter 11 FM Menu RDS Staton ID Current PS Omnia 9 Current RT Rock amp Roll Music PS Omnia 9 RT Rock amp Roll Music PI Code 3712 Typically the PS field an 8 character static display contains the call letters of the station for example WOMN FM However it is possible to program the PS field in such a way that it can provide a bit more informatio
84. between 1000 18 000HZ with a click before each sweep The click allows you to adjust the trig level of your oscilloscope to stabilize the display Quick Sweep goes all the way up to 18 000HZz to allow you to visualize the low pass filter of your stereo generator Additionally all L R test tones are generated before any de emphasis inside the Omnia 9 allowing you to verify performance of your stereo generator by connecting its output to one of Omnia 9 s composite inputs and compare theory and practice on two internal oscilloscopes side by side by using the L R Pre emph Output patch point Left Pre emphasized with the MPX Input patch point Left De mod Having a perfectly accurate result visibly looking the same is absolutely achievable so please do not accept anything less as any inaccuracies will cost you both loudness and audio quality 133 Chapter 18 System Menu Omnia 9 features three built in file recorders that allow you to capture audio from various points within the processing chain onto a USB flash drive or hard drive File Recorder File Recorder 1 File Recorder 2 File Recorder 3 Before you begin select the Name input field and assign a name to your new file Then choose which processing core FM HD 1 HD 2 HD 3 Stream 1 Stream 2 or Stream 3 you would like to record Next pick a patch point from within the processing chain Finally enable Rec to start recording System Ale Recorder He Recorde
85. c Program Type Alternative Frequencies Menus If you broadcast the same programming on more than one frequency you can take advantage of an RDS receiver s ability to search for and tune into up to 16 alternative frequencies when the signal of the current frequency weakens The Alternative Frequencies 1 amp 2 menus allow you to specify those frequencies Alternative Frequencies i 4 gt AF 0 Off v AF 4 Off v AF 1 Off v AF 5 Off v Home FM RDS AF 2 Off 4 AF 6 Off v AF 7 Off v 80 Chapter 12 FM Menu MPX Inputs Chapter 12 FM Menu MPX Inputs So many possibilities from two modest BNC Jacks Chapter 12 FM Menu MPX Inputs The FM Menu MPX Input Omnia 9 provides two rear panel MPX composite inputs which can be used for a variety of purposes including using an external RDS encoder as described in the previous section on RDS If these MPX inputs are enabled as described in the System Config Menu section of the chapter on the System Menu they can also be used to put some of Omnia 9 s built in tools to good use For example you may wish to connect a modulation monitor or a tuner with an MPX output to one of the inputs and take a closer look at other signals in your market on the oscilloscope or spectrum analyzer You could feed the composite output of your existing processor into the Omnia 9 to check its performance Or you could verify the performance of an external stereo coder that you
86. captured using Omnia 9 s built in oscilloscope The top window shows the damaged source audio The bottom window shows the same audio after it has passed through the de clipper Notice how the peaks that were clipped during mastering have been restored by the de clipper Note The oscilloscope gain was kept at the same level for comparison purposes but Omnia 9 has sufficient internal headroom and the illustrations that follow do not suggest that the audio is being clipped again by any portion of Undo Program Input Left E zl W i f 1 AN Ht he ih by he tM NN ie We i yi AR i Post Dechpper Left A J Nt Vil Wi N yh i oa vi a i W A in Ny WN eh Ny ih vi The second stage of Undo is a multi band expander that is designed to restore dynamic range to audio that has been excessively compressed Each of the five bands of the expander has a corresponding psychoacoustic dynamics detector and a peak detector that examine the peak levels of the incoming 30 Chapter 8 Input Undo Menu audio and based upon that information plus the settings of the various controls tells the expander how much dynamic range to restore to the audio The illustrations that follow show the damaged audio before de clipping or expansion The bottom window shows the same audio after it has been de clipped and expanded Undo Menu Each of the three internal audio input paths has a dedicated Undo section
87. cast 2 v Stream Disabled Allow Public Listing User name source Apply Immediately Uri http www omniaaudio com 9 Password The Title field allows you to enter the name of the encoder The Server field should contain the URL of the server including the port in the following format streamingserver example com 8000 The Mount Point field for Icecast 2 servers should contain the mount point on the server in the following format example1 mp3 following the server name Enabling the Allow Public Listing control sets the public listing allowed flag in the stream as determined by the server The Server Type control allows you to choose between Shoutcast and Icecast2 104 Chapter 16 Streaming Processing amp Encoding Menu The URL field is a metadata field whose information is sent to the server to be potentially displayed in the listings and player The URL is typically the station s official home page The User Name field contains the user log in name for the server The Password field contains the password for the server The Genre field is also a metadata field The type or style of content found on the stream is typically entered here The Apply Immediately control determines whether any changes you make to the server settings take effect immediately or when you manually reconnect MP2 Encoder Menu The MP2 Encoder menu allows you to enable or disable the stream adjust its output gai
88. cing 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 e 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 Chapter 11 FM Menu RDS The RDS control section of Omnia 9 contains the Main RDS menu fields for Program Service PS and Radio Text RT information program identification fields selectable dynamic Program Type PTY selectable flags and a section for selecting alternative frequencies Program Identification Alternative Frequencies 1 Alternative Frequencies 2 The Main menu controls allow you to enable RDS choose the mode in which it operates and set the injection level RDS Mode Internal Current PS Omnia 9 Injection Level 4 0 RT Rock amp Roll Music Current Time Off e The Injection Level slider sets the amount of
89. configure and route Input source audio access the Undo menus and controls access the controls of the various processing cores configure the Monitor Outputs and access system settings If you ever lose your way in the menu system going back to the Home Menu will get you quickly back on familiar ground j FM z Speaker Vol O mnNIq 9 Y Location LHC Radio ee ere 36 0 dB eel BY LEIF CLAESSON Undo Input 1 Aggressive Unprocessing FEM Main Digital Rustonium MPX Output Multiples Lossy 12 2 18 EEEEEE a JAR EE E 6 0 g a mii i i ie ge 0 18 o ii a oa ej Jo w e aa 25 eA p 36 30 m E 12 30 ct 3 Z E 36 g a pon 48 e PRERE ERRER Eni meee 40 A S S 60 BE EE AB A W2 Gut fv Dynamics MultibandEsp Input Decl Out i LR 10 Home Input 2 Studio Processing Streaming 1 Streaming 2 Streaming 3 Monitor Outputs System 24 Chapter 7 Input Source Audio Menu Chapter 7 Inputs 1 2 3 source Audio Menu The only source of knowledge is experience Albert Einstein The only source of audio are those jacks on the back And the internal player Omnia 9 Manual 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 HD 1 Streaming 1 On units so equipped Input 2 feeds the HD 2 Streaming 2 path while Input 3 feeds the HD 3 Streaming 3 path The menus and controls are identica
90. ds of the multi band AGC at all times creates a dense and consistent output conjuring up the general sound of another un named but ubiquitous processor known for its bass texture and consistency If there s bass to bring forward in the music Big Bottom will find it Big Iron by Jesse Graffam Big Iron is a 4 band preset dedicated to the glory days of radio and emulates the characteristics of such notable compressors as the ART VLA and the Dorrough DAP 310 It provides a warm open vocal sound and won t attempt to aggressively re equalize the original spectral balance of the source material It makes use of Omnia 9 s multi stage AGC sections prior to the multi oand compressors as well as the Gain Reduction Override feature in the multi band section It s competitively loud on the dial but still punchy Celeste by LeeXS A fast acting WB AGC and Infinite 1 ratios over threshold in the multi band AGC s give Celeste a consistent sound on a wide variety of source materials It s strong warm and round bass texture and smooth midrange make it a good choice for smooth R amp B or light AC stations who value long term listening and an easy sound over all out loudness Classical Jazz by Leif Claesson Classical Jazz is a 3 band preset designed to provide gentle wideband and multi band dynamics control without interfering with the original spectral balance of the music It is not designed for loudness as it u
91. e Re init Display e Selecting Displays Only allows whichever displays you have selected to occupy the entire front panel while hiding the controls useful when you want a more detailed view of the processing meters or an oscilloscope or FFT display Tapping anywhere on the screen returns you to the normal view which shows both displays and controls e The Lock Front Panel option allows you to lock the front panel if you have enabled password protection When you lock the screen all of the display windows will remain visible in the top portion of the display and the bottom portion will change to accept your password via the on screen keyboard Depending upon how you have re sized the various portions of the screen the displays may appear smaller when the unit is locked to ensure sufficient space is reserved for the on screen keyboard The Expert Mode control toggles between Expert and Non Expert views and is explained in more detail below in the Navigation Modes section e 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 16 Chapter 4 Home Screen amp User Interface The Display Preset buttons numbered 1 6 let you create and save six separate Home screens For example you may wish to devote one display preset to nothing but the
92. e FM by Jim Kuzman and Leif Claesson Northridge FM is a 7 band preset that makes use of the Wideband AGC2 compressor in Bass Only mode to deliver lots of bass punch Loudness is built relying more upon the dynamics section of Omnia 9 rather than the final clipper specifically through the use of the Wideband AGC1 compressor and the multiband limiters It is also one of the brightest and coolest factory presets in terms of spectral balance and can be made louder if needed by increasing the final clipper drive 157 Chapter 20 Factory Presets Northridge HD by Jim Kuzman and Leif Claesson With the exception of Plutonium all other factory presets have their HD only parameters such as the final limiter and output mix controls tuned in such a way that choosing the same preset for FM and HD allows for a very close on air sonic match when receivers switch between the analog and digital signal With Northridge however using the FM version of the preset will result in an on air sound that was too heavy on the highs for HD Therefore we recommend stations using Northridge FM on the analog side use Northridge HD for the HD path NYC Attack of the Camclones by Jesse Graffam Slightly louder than New York Attack of the Camclones provides a huge tight dense bass texture uses fast attack and release times to build density and has dip in the lower mids to keep male vocals from beco
93. e controls it immediately slows or stops respectively Higher settings mean it will take longer for the release of the audio to slow or stop A Gate condition will be indicated by a dim dark red bar at the bottom of the multiband meters A Freeze condition will be indicated by a brighter dark red bar Note Setting the Gate Delay much lower than the default setting of 79ms will cause the gate to 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 useful tool for controlling announcer music level balance e 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 setting of 0 the control has no effect and the Release speed control fully determines the rate of release both below and above threshold Increasing the setting progressively makes the release speed of the audio faster as gain decreases e The Gate Threshold and Freeze Threshold controls work in the same manner as their counterparts in the other sections of the Omnia 9 The Gain Reduction Ratio Override and Gain Reduction Ratio controls work together to let you set a different ratio for each band when audio in that band crosses above threshold that is when it is driven into gain reduction The ratio for audio bel
94. e sure to enable the proper MPX input for RDS use Input 1 or Input 2 in the RDS Mode menu and set the MPX 2 Output control to the 19kHz Generator mode The MPX 2 Output control can be found in the RDS Menu the FM Processing Output menu and in the main I O menu As an aside it s interesting to note that Omnia 9 filters the external RDS so tightly that if you connected the MPX output of a tuner monitoring a completely different station it will broadcast that station s pilot and RDS data Using an RDS Encoder After Omnia 9 You can also use an RDS encoder after Omnia 9 but doing so means losing loudness since Omnia 9 s composite clipper cannot process the fully encoded signal In this case Omnia 9 s MPX1 Output will feed the encoder s MPX Input while the MPX 2 Output will feed the Pilot Input Sync of the external encoder The output of the encoder will then feed the composite STL or exciter In this scenario the MPX 2 Output control should be set to the MPX Pilot mode RDS Using External Encoder After Omnia 9 Auco Audio f gt gt MPXOut In C Composite Integrator Composite gt MPXOut STL or anne Exciter MPX Pilot and lt ee External RDS Encoder 76 Chapter 11 FM Menu RDS Using an RDS Encoder That Does Not Provide a Pilot Signal Some RDS encoders take the pilot signal of the processor use it as a sync reference for RDS and then output only the RDS data without passing the pi
95. easing to a maximum ratio of 4 1 The point at which that expansion begins to occur is set by the Expansion Start control in each band e The relative point at which the expansion reaches its full 4 1 ratio is determined by the setting of the Transition Width control in each band The detected amount of dynamics in each band is indicated by the Dynamics meters Taller bars indicate more inherent dynamics in the music while shorter bars indicate less dynamics and are generally the inverse of the Expansion Ratio meters The result of settings in the Dynamics Detector to Ratio menu can be observed on the Expansion Ratio meters in the Undo Meter Window E Speaker Volume 16 5 dB Headphone Volume 26 0 dB Expansion ee a A i Expander Thresholds Multiband Exp Undo measures audio peaks as a means by which to set the expander thresholds based upon the incoming program audio The Peak Detector Menu controls the attack and release speed of each band of Undo s Peak Detectors 35 Chapter 8 Input Undo Menu Input i undo Peak Detector 4 Peak Detector Bi Attack 65 Peak Detector B1 Release 10 Peak Detector B2 Attack 70 Peak Detector B2 Release 10 Peak Detector B3 Attack 70 Peak Detector B3 Release 10 Peak Detector B4 Attack 80 Peak Detector B4 Release 15 Peak Detector BS Attack 80 Peak Detector B5 Release 15 e The Attack speed controls determine how quickly Undo reacts to incoming audio peaks
96. ections are likely to make some attempt to compensate for large changes in the spectrum However because the crossover slopes of the multiband processors are relatively broad the Parametric EQ can have more impact than you might expect Finally remember that EQ is a static process That is it increases or reduces gain to a particular part of the spectrum irrespective of program content In other words if you apply 8dB of bass boost it is applied to all incoming audio whether it is bass shy or bass heavy e Adjusting the Multiband AGC Targets can have a very significant effect on the spectral balance of your sound as well but there are important factors to consider when adjusting these controls For example 152 Chapter 19 Getting the Sound You Want e 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 employed as Progressive Release is driven by the current amount of gain in that band 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 Since raising the target increases gain doing so means that audio in a particular band may not be increased sufficiently if the source material is lacking in that part of the spectrum For example if the source material lacks brightn
97. efault the parametric EQ section is set up in the common mode which means changes made to the left channel will be mirrored in the right channel Connect the Client PC and the Calibrated Mic The first step to calibration is making sure you have a remote connection to your Omnia 9 per the instructions at the beginning of this manual Once connected plug your calibrated mic into the remote PC install any necessary software or drivers and establish that it is working properly in Windows Set Up RTA and Oscilloscope Display Windows After microphone installation and setup are complete you will need to make sure you have the RTA and the oscilloscope set up in a Display Window If an RTA is not already visible select any of the current display windows Processing Meters Undo Meters etc to bring up a Display Settings menu Set up one of the windows to monitor the Client Mic input for example Display 3 RTA I O Client Mic Input 1 3 octave resolution will provide more of a big picture overview while the 1 6 octave will identify more specific peaks and valleys We suggest an Average setting of 40 and a Target Range of 2 0dB You will need to adjust the Target and Range controls for your individual situation once you have pink noise running through the speakers at a reasonable volume We also recommend setting up an Oscilloscope menu in the same manner so that you can watch for any clipping that may occur should you need to
98. enu The Display Settings menu is the same menu found in the Processing Menu of the Processing section and is duplicated here for convenience 84 Chapter 13 FM Menu Meter Options Chapter 13 FM Menu Meter Options Seeing what you hear Chapter 13 FM Menu Meter Options The FM Menu Meter Options The Meter Options Menu contains sub menus for Meter Options Test Options Loudness Matched A B and Display Settings Meter Options Meter Options Test Options Loudness Matched A B Display Settings Meter Options Menu Which meters are displayed in the Loudness Meter Modulation Meter and Modulation Numeric display windows are determined by enabling or disabling available options in this menu FM Meter Options Meter Options A Program Input as PL SS oi MPX Pwr Meter MPX Pwr Num 0 0 dB z Peak Response MPX Output post ae wer Peak Mod Meter ed Peak Mod Num ont L R Output ot Pilot Level Meter Pilot Level Num MPX Input 1 od L R Level Meter L R Level Num MPX Input 2 Pre emph Input Specifically 86 Chapter 13 FM Menu Meter Options Program Input is available only in the in the Loudness Meter display MPX Output MPX Input 1 MPX Input 2 and Pre emph Input are available in the Loudness Meter Modulation Meter and Modulation Numeric displays The MPX Power Meter Peak Modulation Meter Pilot Level Meter and L R Level Meter can be added to the Modulation Meter display of any enabled MPX sect
99. epending upon configuration From this menu you can choose the input source load and save presets and make changes to the Parametric Equalizer Downward Expanders Input AGC Wideband AGC1 Multiband Stereo Enhancer Multiband AGC and Limiters Wideband AGC2 Band Mix Bass Clipper and Final Limiter sections It also includes its own Meter Options menu The HD processing cores are suitable for use in both HD Radio iBiquity NRSC 5 and DAB Eureka 147 applications depending upon the sample rate established in the System gt System Config gt Sample Rate 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 Processing Load Preset Save Preset Preset Protection Downward Expanders Input AGC Wideband AGC 1 Parametric Equalizer Stereo Enhancer Multiband Setup MB Attack Release MB Thresholds Dry Voice Detection Wideband AGC 2 Wideband AGC 3 Band Mix Display Settings However like the Studio Processing core the HD processing cores do not use a final clipper for peak control Instead they use a look ahead limiter which is adjustable by the 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 to the left reduces the amount of limiting and gives you a more open sound but at the expense of overall loudness Conversely increasing limiter dr
100. equency control determines what frequency will lie in the middle of the adjustment curve expressed in Hz You will be able to identify where your speakers start to roll off in terms of frequency response especially on the low end pretty quickly You can t overcome pure physics with an equalizer and small speakers will never reproduce bass with the same authority as larger ones so there s no point in trying to give a 15dB boost at 30Hz to small monitors in the hopes that you ll get the equivalent of a free subwoofer What s 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 As you study the RIA we recommend identifying and correcting any glaring peaks or valleys over a relatively narrow ranges of frequencies first to take care of any hot spots Then work your way out to making broader changes to the overall curve Chasing Your Tail Speaker calibration can be a frustrating process especially if this is your first go around with it Sometimes it s like squeezing a balloon When you squish one end the other end puffs out So it goes with calibration Make a boost to one frequency and the surrounding frequencies go up too Experimenting with the center frequency and bandwidth controls will help as will a good dose of patience and allotting enough time to do it up right Your efforts will be rewarded
101. er but may result in low frequency distortion if set too low e The LF Protection Threshold HF Protection Threshold and A15 Protection Threshold controls adjust the respective clip levels of the three protection clippers situated ahead of the final clipper and help protect low frequencies from influencing high frequencies and vice versa The various frequencies in the final wave form will always be vying for space in the final clipper Advancing these controls ensures their corresponding frequencies will always have at least some room reserved in the final clipper However setting the thresholds too high by advancing these controls too much will cause the sound to become dull and dense These are very critical controls and allow you to determine exactly what goes into the final clipper We strongly recommend listening very carefully to the sound with your ears and watching the waveform on the oscilloscope very carefully when setting these controls The LF Protection Threshold controls frequencies between 0 and 1 500Hz though audio in some of these frequencies will already have been dealt with by the bass clippers The range of this control is 12 0dB to 12 0dB in one tenth dB increments The HF Protection Threshold controls frequencies between 1 500 and 17 500Hz The range of this control is 12 0dB to 12 0dB in one tenth dB increments e The A15 Protection Threshold controls frequencies between 15 000 and 16 500Hz Omnia 9 is quite capab
102. er and duplicate your custom settings on another Omnia 9 Backup Menu The Backup Menu appears as an additional System Config item only when you are connected to Omnia 9 via the NfRemote software not when viewing the front panel display and allows the entire configuration of the unit to be saved to your PC in a single zip file It also allows a previously saved configuration to be uploaded to the Omnia 9 This configuration profile includes factory and user created processing Undo I O presets and other configuration information Should you wish to clone your Omnia 9 you can do so simply by uploading the file to the second unit instead of configuring each parameter individually rather like the concept of creating an image in computer terms This is also handy if you or someone else accidentally changes something and isn t sure of the original settings as uploading a known good configuration can immediately get things back to normal similar to using a restore point in PC terms 147 Chapter 18 System Menu System Config Backup Download Configuration Restore Upload Configuration IP configuration Retain Password Retain Receive Complete The Backup Download Configuration button saves the current configuration to your computer Selecting it opens up a Windows Explorer window allowing you to name and choose the location of the saved file The Restore Upload Configuration button uploads a p
103. er and multiband expander The available number of bands is determined by the current processing preset The Undo Post menu lets you listen to output of the entire Undo section or to the output of each individual Undo band before it enters the main audio processing core 113 Chapter 17 Monitor Output Menu e The Miscellaneous menu lets you listen to the audio after Input Filtering after Multiband processing after the Bass Clipper after the Loudness Matched input as an MPX signal with noise or at Program Pass through patch point e The MPX Decoded menu allows you to listen to decoded pre emphasized de emphasized audio from the MPX Output MPX Input 1 or MPX Input 2 e The Multiband DRC Solo menu lets you listen to the audio after the Parametric EQ in each of the AGC Wideband 1 and Wideband 2 sidechains and at the output of each individual band of the Multiband processing section Studio Processing Patch Points You can feed each of the three Monitor Outputs audio from various points within the Studio Processing core Home Monitor Outputs Speaker Output Patch Point Follow Volume 26 0 dB Studio Streaming Streaming Streaming Processing 1 2 2 Physical Inputs Program Input Studio Output e The I O menu allows you to listen to the Program Input or Studio Output e The Physical Inputs menu allows you to monitor any of the rear panel input points including Main Digital AES Reference Aux Digi
104. es Each situation and application will be different and the choice of how to utilize the monitor outputs is up to you One important feature to understand well is the Follow control which is set to Off by default When Follow is enabled in a particular user interface on a particular Monitor Output the patch point source audio of that Monitor Output will conveniently follow along with you as you navigate to different processing cores in that user interface Keep in mind that anyone else listening to that same Monitor Output will also be affected The On Off status of Follow is independently associated with each remote connection or the front panel FM Processing Patch Points You can feed each of the three Monitor Outputs audio from various points within the FM processing core Home Monitor Outputs Speaker Output Patch Point Follow Volume 26 0 dB Studio Streaming Streaming Streaming J Processing 1 2 3 MPX Physical Multiband I O Declipper Undo Pre Decoded Inputs Solo Program Input MPX Output L R Output MPX Input 1 MPX Input 2 Pre emph Input e The I O menu lets you listen to Program Input MPX Output or L R MPX Output of the FM processing core Note that only those processing cores that have been enabled will be available The De clipper menu lets you hear audio either before or after the de clipper e The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the de clipp
105. ess and the target of the top bands is raised too much there may not be enough room in those bands to sufficiently increase their output The result may be spectral inconsistencies from source to source If creating a consistent spectral signature is important this may be problematic If on the other hand your goals lean more toward preserving the spectral balance of the original material this could be advantageous e Making adjustments to the Band Mix will also influence the spectral balance but since this is the final point in the processing chain before the Final Clipper FM core or Final Limiter HD and Streaming cores any peaks that result from adjustments made here will be dealt with only by these more aggressive processing stages While it is not always a bad idea to increase the output level of a particular band depending upon the sound you are trying to create you may have better results by decreasing the output of the rest of the bands by that amount instead Or you may instead wish to make the adjustments to suit your tastes and then reduce the overall Band Mix level The Multiband AGC Target and Band Mix controls can be used together to help fine tune your sound For example let s say you are using a 6 band preset and you want to create a more dense sounding mid range By lowering the targets of bands 3 and 4 you will drive those bands further toward a state of gain reduction and increase their release rate when Pro
106. essive loudness driven presets is Auto The Attack Release Target Limiter Threshold Attack Coupled Release Coupled Speed Coupled and Target Coupled controls provide relative adjustments referenced to their counterparts in the Multiband section The Peak Sense Coupled control simultaneously adjusts the attack and release rates but in Opposition to one another Sliding the control to the right increases the attack rate and slows the release rate making it more peak sensitive Sliding the control to the left decreases the attack rate and speeds up the release rate making it less peak sensitive Wideband AGC2 Menu The Omnia 9 s Wideband AGC2 control allows you to insert one additional AGC processing stage into the chain as outlined in detail below Processing Wideband AGC 2 Target 6 00 GBFS Release 70 Sidechain Delay gaji ld Ratio Infi Prog Rel 94 0 ms The Wideband AGC2 menu provides access to the transient enhance maximum gain maximum gain reduction ratio attack release progressive release target gate threshold freeze threshold and three band sidechain parametric equalizer controls e The Bypass button removes the Wideband AGC1 compressor from the audio path but its patch point remains an available option for viewing on the oscilloscope or RTA via the Display Settings menu 54 Chapter 9 FM Menu Processing for FM The Transient Enhance Maximum Gain Ratio Attack speed
107. ettings menu of this manual The Expander Release speed control adjusts how quickly the expander levels will fall once the expansion is no longer called for Faster settings will allow the levels to fall more quickly Undo also utilizes a second set of parallel expanders which look at the same input and automatically scale the attack and release characteristics of the main expanders These Speed Governors detect when the main expanders have been operating at full speed for an extended period of time and will slow down the main expanders The Governor Attack speed determines how long the speed governors wait before scaling back the speed of expanders Faster attack speeds will cause the speed governors to slow down the expanders more quickly The Governor Release speed setting determines how quickly the speed governors give up their influence on the main expanders The effect of the expander attack and release speeds are indicated by the Multiband Expander meters in the Undo Meter window The levels of the speed governors are indicated in the Speed Governors window 38 Chapter 8 Input Undo Menu Omnia CPU Load 9 j BY LEIF CLAESSON Multiband Undo Sap Expander Meters SMM GY speca oMAGne BRER Governor tal all Meter Dynamics Expansion Ratio Expander Thresholds Multiband Exp Speed Governors Input Declipped Gutput Each Undo expander band can operate in a range of ratios betwee
108. f lines e Select 30 Hz Verify that the peaks reach the same lines at the exact same spot e Select 30 Hz Phase Invert Verify that the peaks reach the same lines and never overshoot For a control sample set your oscilloscope to AC coupling and watch the waveform bounce We have now verified that Omnia 9 s composite output is exactly accurate You may also try the other test tones as well as program audio Here is another test this time checking for overshoots e Connect Omnia 9 s composite output to your exciter and look at your modulation monitor e Select 400 Hz and adjust for exactly 100 modulation e Then select 30 Hz and verify that you are reaching the same modulation level e Finally select 30 Hz Phase Invert You will likely see some overshoot but if you see more than a percent or two then either your exciter or STL is causing the overshoots OR your modulation monitor is displaying overshoots that are not there In extensive field testing this problem has proven to be much more common than we ever thought Please note that this problem affects every processor but it has just never been as easy to pinpoint as it is now due to the presence of Omnia 9 s built in signal generator The L R Test Generator menu section has the same options minus Bessel Null but there are a couple of differences to keep in mind Specifically Sweep L R is a slow linear frequency sweep between 30 and 16 000Hz and Quick Sweep is a quick sweep
109. ferenced in the FM Processing menu section of this manual Controls unique to the HD and Streaming sections are described in detail in the HD Processing menu section 99 Chapter 16 Streaming Processing amp Encoding Menu Streaming 1 Processing Load Preset Save Preset Preset Protection Downward Expanders Input AGC Wideband AGC 1 Parametric Equalizer Stereo Enhancer Multiband Setup MB Attack Release MB Thresholds Dry Voice Detection Wideband AGC 2 Wideband AGC 3 Band Mix Bypass Display Settings This menu contains the controls necessary to set up and configure each of the enabled encoders and is where details of the servers can be entered The type and maximum number of encoders can be set up in the the System gt System Config gt Streaming Encoders menu Streaming 1 Streams Metadata AAC Encoder AAC Server MP3 Encoder MP3 Server MP2 Encoder MP2 Server Vorbis Encoder Vorbis Server WMA Encoder WMA Server Display Settings Omnia 9 s built in http server can be used to feed information such as the song title and artist information to the stream 100 Chapter 16 Streaming Processing amp Encoding Menu Streaming 1 Metadata Metadata Use HTTP to feed the song name The AAC Encoder menu allows you to enable or disable the stream adjust its output gain enter the stream s title and select the SBR Mode channel mode sample rate bit rate and audio bandwidth Streaming 1 Streams AAG Encoder 4
110. g any brand or model over another we can tell you that Behringer ECM8000 and DBX RTA M work quite well and can be purchased at local music stores and from various on line vendors for around 100 If you prefer to connect your mic via USB or Firewire several manufacturers M Audio E Mu and Blue come to mind offer XLR to USB and XLR to Firewire converters starting at under 50 Setting Up the Mic Place the microphone as close as possible to the position you will occupy when monitoring so that it hears what you will hear In cases where you are calibrating two of the same speakers and both are placed in similar locations in the room you can calibrate both the left and right channels simultaneously If you find yourself in a situation where the speakers will be affected differently by their individual placement in the room one is Suspending from the ceiling in a corner and the other is sitting on a shelf for example or one is significantly closer to your monitoring position than the other we recommend performing an individual calibration for each speaker 167 Chapter 21 Remote Interface Software Setting Up the Client Software for Calibration For the example below let s assume that you are calibrating your studio monitors which are being fed audio from the Speaker Output portion of Omnia 9 s Monitor Outputs We will also assume that you are in a situation where you can use the same calibration settings for both speakers By d
111. g the Edit Preset Name button to bring up the on screen keyboard Type in the new name select OK and select Save Preset The new preset will now appear in the list If your Current Preset has been modified you also have the option to write over the existing preset without renaming it by selecting Save Preset The Main 1 menu contains the controls to set the output level of each Monitor Output enable or disable any adjustable parameters of each output adjust the master gain level adjust the left and right levels individually solo an individual channel and set a high pass filter frequency for both the left and right channels Monitor Outputs Speaker Output Main 1 Pink Noise Volume 26 0 dB Left nee An mE em eea L High pass Off Pink Noise Bypass ight L level 0 0 dB L Bypass 0 0 dB Lock R level 0 0 dB R Bypass 0 0 dB Solo Left L Low pass Off Solo Right Qlowmas OF e 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 The Bypass control enables or disables the parametric EQ loudness contours and high pass filters 118 Chapter 17 Monitor Output Menu e The Lock control allows you to lock down all of the settings including the patch points and the shortcut settings Such as volume controls at the top of the user interface When locked the controls will appear grayed ou
112. gressive Release is utilized but this can also cause them to become softer in the mix if Progressive Release is not used or the source material doesn t have significant content in those bands You can compensate for this loss by increasing the gain of those bands in the Band Mix Or let Ss say you want an open and dynamic low end and have raised the targets of Bands 1 and 2 to achieve less compression but now find that the bass seems too prominent in the mix You can decrease the gain of these bands in the Band Mix section to restore a more balanced sound 153 Chapter 20 Factory Presets Chapter 20 Factory Presets Dont like that preset No worries 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 passionate about audio processing and have extensive experience with the product Creating a preset takes countless hours of critical listening to a wide variety of music including hand picked problem songs that contain passages that are known to be difficult for a particular section of any processor to handle Each preset has been created with a particular sonic goal in mind Some are relatively simple in structure while others exploit Omnia 9 s unique processing functions and utilize a few tricks to achieve a particular sound We have deliberately avoided naming presets by format or genre with
113. gs will significantly influence the audio quality of your stream However you will also need to take other factors into consideration such as the total amount of bandwidth available for the stream the anticipated number of users your maximum upload speed and the download speed limits of your intended users The Audio Bandwidth menu allows you to set the high frequency range of the stream between 8 and 20kHz Unless you have a specific reason to set the bandwidth manually we strongly recommend leaving this control set to Encoder Default e The Sample Rate menu will either maintain Omnia 9 s system sample rate of 44 1kKHz or 48kHz depending on the sample rate setting in the encoder or result in a high quality re sample to 32 44 1 or 96KHz The setting of the Gain control is critical Normally this control can be left at 0 0 However there are times when you will want to reduce the input level into the encoder For example if you are employing a lot of peak limiting in the Streaming core and using AAC encoding at a low bit rate there will be peak overshoots created as a side effect of the bit rate reduction Unless the input level into the encoder is reduced it will be up to the listener s decoder to deal with the excessive levels which will most certainly degrade the quality of the audio You may also consider backing off the Final Limiter Drive from within the Streaming processing core AAC Server Menu The AAC Server menu all
114. h function exactly like their counterparts in the Input AGC section above A PEQ preview patch point similar to the one described in the Input AGC section is also available here Parametric Equalizer Menu The Parametric Equalizer menu allows you to set up the 6 band phase linear parametric equalizer which is located just ahead of the multiband section of the processing core In addition an assortment of pre configured filters are available including a Low Pass Filter a High Pass Filter a Band Pass Filter a Notch Filter a Low Shelf EQ and a High Shelf EQ Processing Parametric Equalizer The Bypass button removes the equalizer from the audio path The Type drop down menu determines what type of EQ or filter is employed The Frequency slider is used to set the center frequency for each band The range of this control is 20 to 22 050Hz e 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 Although changes made in the parametr
115. have the option to use Omnia 9 s Time Based File Splitting feature which allows you to record files of a specified length 15 minutes 30 minutes 1 hour 2 hours 3 hours or 4 hours As it is sample accurate you can splice the files together after recording if you like There is no file limit size other than the amount of space on your external drive so file splitting is not required only an option The Time Date menu has three sub menus for setting Omnia 9 s internal clock Time Zone NTP and Set Clock Manually Time Date Time Zone Set Clock Manually The Time Zone menu allows you to choose the proper time zone for your particular geographical area Daylight Savings Time is automatically applied in applicable time zones Time Date Time Zone Tuesday 2013 08 20 21 21 48 UTC 05 00 Indiana East 135 Chapter 18 System Menu The NTP menu contains the addresses for five Network Time Protocol servers When enabled NTP Synchronization will use one of these servers to keep the Omnia 9 s clock synchronized Time Date NTP Synchronization Server 0 0 pool ntp org Server 1 1 pool ntp org Server 2 2 pool ntp org 2013 08 20 Server 3 3 pool ntp org Tuesday Server 4 4 pool ntp org The Set Clock Manually menu contains the controls for manually setting the time and date System Time Date Set Clock Manually 4 Current Time and Date Update Time Sliders Update Date Sliders Set Hour 20
116. he Bypass control e The Left Level and Right Level controls allow you to adjust the output gain of each channel 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 The Solo Left and Solo Right controls allow you to monitor only the left or only the right channel The Left High Pass Filter and Right High Pass Filter controls allow you to set the high pass filter cutoff point to avoid over driving small speakers When calibrating smaller bass shy speakers there will come a point where you can no longer compensate for such a deficiency by EQ ing and it is more practical to simply not try and pass those frequencies at all That point will be clear on the RTA and is explained in more detail in the Speaker Calibration section e The Pink Noise Left and Pink Noise Right controls turn the pink noise generator in each channel on or off Main 2 Menu The Main 2 Menu contains the controls to set the output level of each Monitor Output adjust the master gain level determine whether the left and right channels are adjusted together as a common pair for both the parametric EQ and the Delay functions invert the polarity of each channel set the overall delay time and individual channel delay and adjust the Bass Clipper and Limiter Thresholds for each channel 119 Chapter 17 Monitor Output Menu Monitor Outputs Speaker Output Main 2 Volume 26
117. he control is at the middle of its range but does not necessarily mean that no clipping is taking place The Bass Clipper Slope control determines the slope characteristics of the bass clipper e Slope 1 is filtered at a very low frequency so that the low bass stays clean even when clipped hard However some of the mid bass will pass through the clipper which may result in more of the final waveform being taken up by the bass For lighter processing settings Slope 1 offers the cleanest and punchiest bass sound e Slope 2 has a higher cutoff frequency than Slope 1 offering more control over the mid bass while creating a dirtier bass sound with more harmonics On certain formats or when listening on a smaller radio this may be a desirable effect e Slope 1 2 is simply Slope 1 followed by Slope 2 Most of the low bass will be controlled by Slope 1 and stay nice and clean while the remaining bass will be taken care of by Slope 2 without affecting the low bass If you are using heavier overall processing this option will give you the cleanest sound The Bass Clipper Threshold control sets the threshold of the Bass Clipper Raising the threshold moving the slider to the left reduces the amount of clipping performed by the Bass Clipper but place a greater burden on the Final Clipper Conversely lowering the threshold moving the slider to the right will yield more bass clipping which takes some of the load off the Final Clipp
118. he dynamic and punchy preset a great choice for techno electronic or highly produced urban music Eruption 2 0 leans heavily on the final clipper to deliver plenty of loudness on air 156 Chapter 20 Factory Presets French Kiss by Leif Claesson A 6 band preset reminiscent of the type of processing favored in France a decade or two ago French Kiss offers up lots of clean distortion free bass and uses the WB AGC2 compressor to intentionally and noticeably pump the audio when the bass kicks in While less suited for typical commercial formats it pairs very well with electronic dance music Helix by Jesse Graffam Helix is a 7 band preset that sports a smiley face EQ curve to deliver a solid low end and sparkling highs but still provides a nice open mid range sound This preset uses the maximum amount of multi band range an Infinite 1 multi band ratio and a fair amount of high frequency limiting to deeply re equalize and re balance virtually any input Imagine Hot Mid by Rob Morsink This bright and loud 3 band preset puts and emphasis on mids and highs and employs a fast release time in the WB AGC 1 compressor to keep levels consistent going into the multi band AGC section which uses light ratios over threshold A great preset for making vocals shimmer and for bringing out all the details in the upper frequencies Jill FM by Jesse Graffam A 7 band preset inspired by the eclectic programming of the
119. her be replaced or have its pre emphasis disabled with Omnia 9 s output set to FM Pre emphasized Omnia 9 is set up by default to provide a pre emphasized MPX signal from the FM processing core If you must use an external stereo generator some additional configuration is required From the Home menu go to System then System Configuration then Processing Cores Choose MPX if you only need the composite output of the stereo generator and have no need for pre emphasized L R audio Choose L R if you are you do not intend to use Omnia 9 s built in stereo generator at all Chose MPX L R if you plan to use the built in stereo generator for your main output but need an additional pre emphasized L R output to feed a secondary chain Select Apply Configuration to put the changes in effect This will cause the Omnia 9 to reinitialize which will take your station off the air for a few seconds From the Home menu go to System then I O Options then FM Options to select the Output Mode Output levels and bandwidth can also be adjusted here The FM diversity delay can be set by going to System then I O Options then Diversity Delay 10 Chapter 2 Quick Startup Guide e Note Feeding the transmitter with L R pre emphasized output instead of the MPX output has several inherent performance disadvantages including the loss of peaks beyond 91 leaving room for the 19kHz pilot tone as we will not know its phase a capabilit
120. her than boost most of the frequencies with the parametric EQ 168 Chapter 21 Remote Interface Software When reading the RTA it is important to know what peaks and dips are actual representations of problem areas with the speaker room combination and which are microphone placement anomalies If you move the microphone just slightly and the problem area magically corrects itself you re seeing such a placement skewed reading A little experimentation will quickly reveal this Once you have finalized the mic placement it s time to begin correcting things with the PEQ Using the Parametric EQ to Smooth Things Out Methods of equalizing speakers in their rooms vary but generally speaking using the fewest number of bands of EQ to achieve the desired result is preferred Cutting reducing frequencies is usually preferred to boosting increasing them although sometimes boosting a certain range is not easily avoided Remember that there are a total of 12 available bands of EQ available to you 6 in the EQ1 menu and 6 more in the EQ2 menu We assume that if you ve gotten this far you have a general idea of how the controls of a parametric equalizer work but as a quick review e The Gain control determines how much the specified frequency range is amplified or attenuated expressed in decibels e The Bandwidth control determines how wide or narrow a range of frequencies will be affected measured in octaves e The Center Fr
121. ic equalizer section are offset somewhat by the action of the multiband compressors that follow this does not occur to the degree you might expect based upon your experience with other processors The parametric equalizer in Omnia 9 is a very versatile and powerful tool for creating your on air sound A visual representation of the effects of the PEQ using the built in real time analyzer can be seen in the RTA portion of the Display Settings section of this manual 49 Chapter 9 FM Menu Processing for FM Stereo Enhancer Menu Omnia 9 offers a unique multi band Stereo Enhancer whose total number of bands is determined by the number of bands of processing used in the Current Preset Regardless it never works on bass which is why Band 1 is never represented and Band 2 may be grayed out This approach significantly reduces the chance that quieter hard panned stereo sounds in a recording with a strong centered mono sound will be shifted out of phase and offers much greater control over the stereo enhancement available in various portions of the spectrum FM Processing Stereo Enhancer 4 Enable Tat Width cp Max Gain cpl Max G R cpl Atk Coupled Rel coupled M e E E S Ia Bs Tgt Width B3 Max Gain Bs Max G R i i 50 3 Release 50 4 dB 6 dB B3 Attack 50 B3 Release 25 Ni 4 y A N IR B4 Tg idth B4 pr ae Ba Max G R BA Attack 30 B4 Release 15 69 6 dB Ba fat Width BS Max Gain
122. in FM Out 2 Cormnposite Pilot Out 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 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 44 1 or 48kHz These settings are found in the System Configuration portion of the System menu For HD Radio a sample rate of 44 1kHz is required For DAB radio a sample rate of 48kHz is required Sample rate converters are present on both the Main Digital In and Aux Digital In connections and accept any AES signal from 32 192kHz From the Omnia 9 Home screen select System then I O Options then Input 1 2 or 3 Each of Omnia 9 s three configurable internal inputs can be fed from any of the physical rear panel inputs by using the drop down menus for each Input Source as appropriate for your installation In turn each processing core is fed from one of the three internal input sources The FM HD 1 and Stream 1 cores are fed from Input 1 HD 2 and Stream 2 are fed from Input 2 while HD 3 and Stream 3 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 audi
123. ing Meters Reading the Processing Meters Understanding the Processing Meters Display The Processing Meters Display provides a tremendous amount of information about what s going on inside each of Omnia 9 s processing cores but in a very efficient and easy to read manner Fi Analod aR 11 p5 input AB AG O ME In the FM processing core meters are provided for monitoring input levels Input AGC Wideband AGC1 Multiband AGC and Limiters Multiband Noise Reduction Multiband Stereo Enhancement Wideband AGC2 and AGC3 sections post multiband output MPX output and individual left and right outputs In the HD and Streaming cores meters for the final look ahead peak limiters and the final output of the processing core are added while the MPX output and left and AGC output meters are eliminated e The ITU BS 1770 Input meters indicate the level of the unprocessed source audio coming into Omnia 9 with floating peak indicators above each bar e The Auto Balance window indicates any corrective left to right channel balancing being performed e 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 Depending upon the settings of the various Input and Wideband AGC1 AGC2 controls the scale to the left of the meter can display levels below threshold positive numbers as we
124. ings provide slower attack speeds while higher settings result in faster attack speeds The Release control determines the speed with which the Downward Expanders act to return gain to each band when the program audio rises above threshold Lower settings provide slower release speeds while higher settings result in faster release speeds Input AGC Menu The Input AGC Menu is used to set the ratio maximum gain attack rate release rate target gate threshold freeze threshold and sidechain equalizer controls The Input AGC is the first gain control stage in Omnia 9 following Undo and is designed to be used as a slower acting leveler ahead of the Wideband AGC1 and multiband compressor sections that follow it It is worth noting that traditional processors only act upon audio above a particular threshold They are driven into various amounts of gain reduction but once the audio falls below the threshold they run out of room or top out and are incapable of increasing the audio any further They require some sort of make up gain control later in the audio chain The compressors in Omnia 9 operate above AND below threshold controlling the dynamics over a much wider range and do not require makeup gain Processing Input AGC 4 Ratio Infi Target 12 dBFS Typei PEQ wW Type 2 PEQ wW Type3 PEQ HF Max Gain Gate Threshold SG PEQ 2 SC 1 6 ict Q 1 20 Hz 5 20 00 dB 30 dBFS Seren ees 1163 Hz 20558 Hz Attack 30 Bie ESH
125. ion including MPX Output MPX Input 1 and MPX Input 2 e The MPX Power Numeric Peak Modulation Numeric Pilot Level Numeric and L R Level Numeric can be added to the Modulation Numeric display of any enabled MPX section e 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 FM Processing section and is available even when Omnia 9 is not operating in MPX Power Mode to provide a power measurement reference Loudness Matched A B Menu The ability to compare the sound of the input audio to the processed output audio is valuable when adjusting your processing Because the human ear often misinterprets louder as better for the first few seconds after it hears a new sound making sure the average levels of the input and output audio closely match eliminates that distraction so that your ear can concentrate on the other changes the processor is making to the texture dynamics and spectral balance of the audio It is possible to manually adjust these levels in the Monitor Output Menu as you switch back and forth between patch points but because input levels vary so much within and between songs this can get tricky or just plain annoying throws your ear for a momentary loop and takes your mind off the careful study of the changes you re making to your processing To make A B comparisons easier
126. iple remotes and using more display windows at one time places additional demands on the CPU so as you employ more of these features it s good practice to take note of the CPU usage When CPU usage reaches 65 the indicator turns yellow alerting you that you have reached a practical safe maximum At 75 the indicator turns red to provide a warning that reduced system performance including interruptions to program audio is possible Omnia 9 s front panel touch screen simultaneously provides access to the user interface and displays a wealth of information about your processing and signal Controls such as the Speaker and Headphone Volume levels can be adjusted via the touchscreen by placing your finger on the control and sliding left or right You may continue to drag outside of the boundaries of the slider Double tapping on a sliding control will bring up an enlarged view for easier adjustment Tapping on a button such as the Menu control opens up drop down menus or navigates to a sub menu e The Speaker Volume control adjusts the output level of whatever audio you have routed to the Speaker Output Likewise the Headphone Volume control adjusts the output level of the audio you have routed to the Headphone Output Details of the Speaker Output and Headphone Output are described in the Monitor Outputs section of this manual e The Menu button on the front panel has four options Displays Only Lock Front Panel Expert Mode and Reinitializ
127. is preset delivers good source to source consistency without sounding overly compressed or processed An excellent choice for a light AC station that wants long term listening but doesn t want to disappear from the dial or a CHR station that doesn t mind trading a bit of loudness for dynamics Quintessence by Sam Sergi This 5 band preset features full consistent bass and a sparkling high end Mids are pushed further back in the mix and loudness is made a priority over openness and punch Fast multi band AGC settings ensure spectral consistency regardless of the balance of the source material making it a good choice for formats where the music spans multiple decades Radium by Leif Claesson Derived from Uranium 238 this member of the atomic family of presets dials back the clipper drive and loosens up the multiband ratios a bit The result is a slight loss of loudness but a considerably more open and dynamic sound That said this is still not a quiet preset If you find yourself in a loud market and feel like you need to keep up Radium is a great place to start and will likely be as loud on the dial as the competition but with a significantly more dynamic sound Reference Settings by Leif Claesson Reference Settings is the most neutral sounding factory preset but that does not diminish its suitability for a wide variety of formats It has been used with only slight modifications on active rock station
128. is also handy if you are doing work in the studio and need to temporarily interrupt the normal audio input path Or provided Omnia 9 is located at the transmitter site it can also play out music if you need to work on the STL The internal player will not crossfade but will automatically cut any silence at the beginning and end of each track and thus provide tight back to back playback Station IDs may be optionally inserted between songs Music is uploaded to the internal SSD drive by connecting to Omnia 9 s built in FTP server on port 7321 passive ports 7322 7331 The default user name is either anonymous or Omnia There is no password as access is controlled by the HTTP Access White List found in the System gt System Configuration gt HTTP Access menu The internal drive can hold roughly 15GB of music in MP2 MP3 FLAC or WAV PCM only formats The FTP server will refuse any file that is not a supported type Note that although the internal player overrides the program input you can still hear and see the physical 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 Station IDs folder where you can place station IDs or jingles e The Gain control sets the output level of the internal audio player e The Previous and Next but
129. isplay 1 Display 2 Undo Meters Input Meters Proc Meters Loud Meters Delay 0 ms Mod Mtrs Mod Display 3 Num Display 4 Scope RTA Display 5 Display 6 FFT off 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 MPX Output Multiples Lossy Processing Delay 0 ms Display Settings Undo Meters Proc Meters Program Input Multiplex Display 1 Display 2 Input Meters Left Oversampiing De mod a MPX Output Right Phosphor Persistence 40 De mod j Left Se L R Output De emph Gain 0 0 dB Misc Right De emph Lines 0 0 dB MB Zoom 1X Solo e The Delay control works the same here as it does previous and subsequent display sections Meters Display 3 Mod Display 4 MPX Phys Input 1 Le iol fie Inputs Pilot Tone MPX Display 6 Input 2 No SCAS 62 Chapter 9 FM Menu Processing for FM e The Oversampling control enables or disables the oscilloscope s 4x oversampling function Without oversampling some peaks may pass through without being displayed giving an inaccurate view of the signal This is most critical when monitoring the MPX Output or the L R Pre emphasis Output However since oversampling consumes more CPU resources it is turned off by default The Phosphor Persistence control adjusts how long la
130. istent levels between the left and right channels Reducing the integration time too much may cause an undesirable or unnatural effect as the channels re balance and therefore the default setting of 10 seconds is recommended for most situations e The Channel Loss Timeout option automatically fades to mono if one input channel is missing The length of time Omnia 9 waits before fading to mono can be set to 3 10 30 or 60 seconds 10 seconds is the default This feature can be disabled altogether by selecting Off Internal Playback Menu Omnia 9 provides the ability to play audio files you provide from within the unit itself for each input 27 Chapter 7 Input Source Audio Menu Input 1 Source Audio Internal Playback Upload music through FTP port 7321 01 Peter Schiling Major Tom Coming Home Auto Internal Playback Disabled Previous Play Next Folder Various Artists Living in oblivion 80s Randomize Folder wv Gain 0 0 dB Station IDs None Ww e Selecting the Internal Playback button will start audio playback from Omnia 9 s internal library of songs e WARNING This will interrupt the program audio being fed to the selected input The internal player is not an automation system but it can randomize music and guarantees not to repeat a song within twenty songs provided you have more than 20 songs in the folder Beyond its value as a temporary backup source the internal player
131. ive moving the slider to the right will result in more limiting and a louder output but at the expense of punch 94 Chapter 15 HD Processing Menu HDi Processing Band Mix 4 Band Mix coupled Bi Level 0 25 dB Bass Clipper B2 Level 0 75 dB Bass Clipper Slope 1 Final Limiter Drive 1 50 dB B3 Level 1 00 dB Bass Gipper Threshold 3 3 dBFS B4 Level 1 50 dB B5 Level 1 50 dB B6 Level 2 00 dB B7 Level 0 00 dB Just as the FM section has a Meter Options menu so does the HD section including Loudness Meters Loudness Matched A B and Test Input sub menus which make it possible to conduct A B comparisons with another HD processor while matching gain and delay Meter Options Loudness Meters Loudness Matched A B Test Input Display Settings The Loudness Meters Menu determines which meters are visible when the Loudness Meters are displayed Choices include Program Input Program Output and Test Input meters 95 Chapter 15 HD Processing Menu Meter Options Loudness Meters Program Input pas Output m Test Input Test Input Menu The source audio for the Test Input is selected here along with adjustments for gain and delay time and an option for meter activity HD1 Meter Options Test Input 4 Delay 0 ms Physical Input Analog Ww Gain 0 0 dB Always Active The Delay slider provides between 0 and 10 000 ms of delay to time align audio coming
132. justs the delay time for the pass through patch point which contains the original unprocessed audio but without compensation delay It is normally in sync with the Input not the Output 88 Chapter 13 FM Menu Meter Options Note If you feed the MPX signal from another processor into one of Omnia 9 s MPX inputs the pass through patch point can be used to feed the unprocessed program audio from Omnia 9 into the other processor This is true even when Omnia 9 is using its internal playback and regardless of which physical input is selected The output of the other processor can be monitored through Omnia 9 s Speaker or Headphone Monitor Output The meters and controls of the other process will be in real time without delay as the compensation delay will be before the processor instead of after Display Settings Menu The Display Settings menu is the same menu found in the Processing Menu of the Processing section and is duplicated here for convenience 89 Chapter 14 Studio Processing Menu Chapter 14 Studio Processing Menu Talent is cheaper than table salt What separates the talented individual from the successful one is a lot of hard work Stephen King Chapter 14 Studio Processing Menu e e A y o sr AN AN u A Ar T g wT WVI AACAQCCTiiIG iiVie ah il CDE CHNSRTIY Vic T WY EiS amp Vv A W Ge Ca udio P CENE EOU E i Ww DY OIE The Studio Processi
133. l for each Source Audio The Source Audio Menu provides access to the Auto Balance and Internal Playback sub menus Source Audio Auto Balance Internal Playback When Auto Balance is enabled Omnia 9 will automatically balance the left and right channels of the incoming audio compensating for any level discrepancies that may be present in an audio stage preceding the processor such as the output of a console or an STL To monitor input audio before Auto 26 Chapter 7 Input Source Audio Menu Balance be sure to monitor at the Program Input patch point To monitor audio immediately after Auto Balance choose the Pre Declipper patch point Source Audio Auto Balance Auto Balance Range 3 0 dB Current 0 52 dB Integration Time 10 seconds Ww Channel Loss Timeout 10 seconds Ww Selecting the Enable button toggles Auto Balance on and off The Range slider sets the maximum total amount of gain that can be increased or decreased in each channel For example with the Range control set at 6 0dB the gain in each channel can be 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 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 cons
134. le of passing audio in excess of the traditional 15kHz cutoff found in other FM processors because of its superior pilot protection A low threshold setting of say 12dB allows these additional high frequencies to pass through while making sure the pilot is well protected The range of this control is between 24 0dB and 0 0dB in one tenth dB increments Display Settings Menu The Display Settings Menu allows you to customize what is displayed in up to 8 different windows on screen at the same time 57 Chapter 9 FM Menu Processing for FM Each of the six Display buttons allows you to choose which processing parameters or visualizations from one of Omnia 9 s valuable built in diagnostic tools are viewable in each window The ten main groups are Undo Meters Processing Meters Input Meters Loudness Meters Modulation Level as bar graph meters Modulation as a numeric readout Oscilloscope RTA and FFT Spectrum Analyzer You can also turn off any or all of Omnia 9 s displays here a handy feature for keeping your processing meters and settings from curious eyes Since Omnia 9 can display such a wide variety of information about your station s audio processing and signal it allows you to create and save up to six Display Presets which are always visible in the top right portion of the display Any changes you make to the display settings are saved as you make them for that particular preset For example you may wish to devo
135. lient software will automatically determine whether to stream client audio in a linear uncompressed PCM format or in a data reduced format which while compressed can still provide excellent audio quality e The client software recognizes any audio output devices Speakers headphones sound cards installed on the remote control PC and makes them available in the Output Device drop down menu 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 e Depending upon the bandwidth available on your local network it may be necessary to buffer incoming audio to the client to avoid dropouts by adjusting the Audio Buffer control The range of this control is between O and 10 000 milliseconds 10 seconds The meters on the remote PC will automatically adjust so that they are always synchronized with the client audio as long as client audio is enabled In addition you can use the meter delay control in the display section to delay meters further to compensate for any delay occurring after the client PC Such as when using Bluetooth speakers e The TCP Link Status window provides information about the connection status between Omnia 9 and the remote PC including Current Ping time in milliseconds Link Bandwidth in KB sec the Audio Format PCM or Vorbis of the stream and Send and Receive rates Client Mic
136. lipper slope bass clipper threshold low frequency protection high frequency protection and A15 protection Processing Final Clip Drive 1 50 dB LE Protection Threshold 1 5 dBFS Bass Clipper Slope 1 HF Protection Threshold 10 0 dBFS Bass Clipper Threshold 3 3 dBFS A15 Protection Threshold 12 0 dBFS e The Final Clip Drive control sets the drive of the final clipper Decreasing the drive moving the slider to the left reduces the amount of clipping Conversely increasing the drive moving the slider to the right will result in more clipping Less clipping will result in a more open less processed cleaner sound but at the expense of overall loudness More clipping can result in a louder on air sound but only up to a point Even if total dial domination and loudness are your processing goals there comes a point when the final wave form is completely full and increasing the amount of clipping will no longer yield additional loudness only more distortion We strongly recommend using Omnia 9 s oscilloscope as well as your ears to monitor the MPX Output signal while adjusting the final clip drive This control ranges from 6 0 to 6 0 in one quarter dB increments which should 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 mind that a setting of 0 00 means t
137. ll as levels above threshold negative numbers When the meters dip down below 0 the compressors are above threshold and therefore in a state of gain reduction When they rise above 0 they are below threshold and in a state of gain increase The combination of Input AGC AGC1 and AGC2 gain is added together to determine the total amount of AGC gain in place 21 Chapter 5 Reading the Processing Meters The Input AGC levels are indicated by a bright yellow bar The Wideband AGC1 levels are shown as a dark orange bar extending below the Input AGC meter Wideband AGC2 levels if this compressor is situated before the multiband section are shown as a second darker orange bar below the AGC1 meter The Multiband meter window shows the levels and action of the AGC limiter and noise reduction sections for each band ranging from 2 to 7 depending upon the preset employed As is the case with the AGC metering section the scale will change based upon the settings of various multiband controls The AGC level in each band is indicated by a bright yellow bar The multiband limiter for each band is represented by a bright red bar that flashes beneath the AGC level The multiband noise reduction for each band is shown by a dark red bar that appears to drop down from the very top of the meter Gating the condition in which release is significantly slowed down is indicated by a dark red ribbon at the bottom of the multiband AGC meters Freezi
138. loading an unknown password choose Override Upgrades Menu You can add options and upgrade your Omnia 9 at any time without the need to purchase new hardware Please call Omnia support for more information 148 System Config Enter upgrade keys here Installed HD2 Installed 3 Installed Chapter 18 System Menu Upgrades RDS Installed Omnia9x2 Apply Config 149 Chapter 19 Getting the Sound You Want Chapter 19 Getting the Sound You Want One way or another I m gonna getcha Blondie 150 Chapter 19 Getting the Sound You Want Getting the Sound You Want Quality v Loudness Omnia 9 is capable of providing sound quality superior to any other processor available today and is equally capable of being louder than the competition too If loudness is your primary goal you will find that you can match the level of your current processor while getting a much cleaner on air sound If high quality audio is your goal you will be able easily achieve that goal and get the extra benefit of increased dial presence Omnia 9 more than any other processor minimizes the impact of the classic quality v loudness trade off by employing processes like Undo and an advanced psycho acoustic distortion masking clipper but bear in mind that NO processor can eliminate that compromise completely The trade off between quality and loudness is still determined primarily by the setting
139. lot To do so you can use a T connector on Omnia 9 s MPX 2 Output connect one leg of the tee to the Pilot Input Sync on the RDS encoder and connect the other to one Omnia 9 s MPX 1 Input The output of the RDS encoder should be connected to Omnia 9 s MPX 2 Input In this scenario set the MPX 2 Output control to the 19kHz Generator mode and the External Input to the 1 2 mode in so that both MPX inputs are enabled for RDS RDS Using External Encoder That Does Not Provide a Pilot Signal After Omnia 9 Audio In gt Audio Composite Integrator F gt aie a MPX1In gt MPX2In Omnia 9 External RDS Encoder Flags Menu The Flags Menu offers enable disable controls for the Radio Text Traffic Program Time Code Compressed Stereo Artificial Head Traffic Announcement and Music flags When enabled the Radio Text RT flag allows whatever is programmed into the RT field to be transmitted T Chapter 11 FM Menu RDS Home FM RDS Hags A RadioText Stereo Traffic Program Artificial Head Time Code Traffic Announcement Compressed Music e The Traffic Program TP flag when enabled allows listeners to find only stations that regularly broadcast traffic bulletins e When enabled the Time Code CT flag allows time and date information within the RDS data to appear on the listener s receiver The Compressed decoder information control when enabled indicates th
140. ly this is not an issue However in certain situations for example if you have a CD player connected to the analog inputs and an amplifier or soeakers connected to the analog outputs this means the input and output will be directly connected with no attenuation whatsoever resulting in fried speakers or eardrums or an eviction notice following complaints from irritable neighbors When engaged the bypass relays hard wire the following inputs to outputs Analog In gt Analog Out Main Digital In gt Main FM Out 1 Aux Digital In gt Aux Out MPX In 1 gt MPX Out 1 MPX In 2 gt MPX Out 2 11 Chapter 3 General Processing Advice Chapter 3 General Processing Advice Setting your goals and avoiding common pitfalls Chapter 3 General Processing Advice General Processing Advice Know Your Goals The first step to successful processing and this applies to ANY processor not just Omnia 9 is defining your goals Whatever those goals are Omnia 9 is capable of getting you there You may wish to maintain as much quality as possible while increasing loudness somewhat over your existing processor You might want to create very consistent source to source spectral balance and develop a signature sound for your station You may find yourself in a situation where you need to stay competitively loud on the dial at the expense of the best possible sound Or you may have the luxury of aiming for a more open cleaner sound that
141. m within each core which specific patch point In addition you can Load and Save presets adjust overall volume levels and individual left and right channel levels access the built in pink noise generators independently delay the output of the left and right channels solo the left and right channels invert the phase of each channel couple and un couple the left and right channels for delay and EQ set the frequency of the high pass filter set the Bass Clip and Limiter thresholds and access the loudness and parametric equalizer sections Monitor Outputs Speaker Output Patch Point Load Preset Save Preset Loudness 1 Loudness 2 Left EQ 1 Left EQ 2 Right EQ 1 Right EQ 2 112 Chapter 17 Monitor Output Menu Keep in mind that although some of the features terms and tools in the Monitor Output sections are similar or identical to their counterparts in Omnia 9 s various processing cores such as the term preset they have no impact on the air Monitor Outputs only control what you hear through the Speaker Headphone or Aux outputs Patch Points Menu The Patch Point menu lets you choose which of Omnia 9 s processing cores you wish to monitor in the Speaker Headphone and Aux outputs and more specifically which point within that core you want to hear In a typical radio station scenario the Speaker Output might be used to feed the control room monitors and the Headphone Output might be used to feed talent headphon
142. may recognize that although SSB Single Sideband normally reduces RF bandwidth it will not help in this case In SSB we lose the 38110 Hz peak but we still have the 37890 Hz peak and with SSB it s 6dB stronger than before One solution would be to statically reduce the L R signal as some processors do However this narrows the entire stereo image no matter what the audio content and is the equivalent of shooting a fly with a cannon Instead Omnia 9 s RF Bandwidth Controller which is actually a limiter with thousands of bands allows it to attenuate only the frequencies that cause problems without affecting the rest of the stereo image This means tight control over your RF bandwidth without audible loss of stereo separation e 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 Odb in one hundredth dB increments e The MPX1 Mode and MPX2 Mode controls determine which signals are fed to the composite outputs Choices include MPX Output L R Output Pre emphasized Input MPX Input 1 and MPX Input 2 These last options allow you to pass Omnia 9 s external MPX inputs directly through to the 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 e The L R Codec Safety drop down control can be used to limit high frequency headroom of the L R
143. ming muddy It also foregoes any stereo enhancement A great choice for CHR stations who want high cume and an ear catching prominent sound just about guaranteed to win a major market loudness war Orlando by Jim Kuzman Smooth and laid back but far from shrinking away on the dial this 7 band preset provides gentle re equalization from the multi band AGC while still maintaining some of the character of the original audio Orlando is competitively loud when fed more contemporary music but very suitable for jazz and classical stations that desire better spectral balance and dial presence than presets designed specifically for those types of music There s plenty of room to build loudness as needed with the final clipper without losing the overall feel of this preset Passive Aggressor by Jesse Graffam A 5 band preset with a split personality Passive Aggressor is relaxed and dynamic in feel yet it provides a great degree of spectral control and overall loudness by utilizing Omnia 9 s Gain Reduction Override settings Looser ratios below threshold and very tight ratios above in the low and high bands coupled with very slow multi band attack and release times make this preset a great easy to listen to choice for stations that place an emphasis on TSL Plutonium FM by Leif Claesson Plutonium FM the loudest factory preset and the most aggressive of the atomic presets was initially designed to satisfy
144. mized for touch screen devices like tablets or all in one PC s with a touch interface e Touch Screen Presentation operates just like Touch Screen but with a large cursor making it ideal for situations when you are using a projector for demonstration or instructing a group on how to use NfRemote Initiating an Outbound Connection from Omnia 9 Normally an instance of NfRemote running on a remote computer initiates the connection to an Omnia 9 inbound connection However there are some situations where it is more appropriate for Omnia 9 to initiate the connection to an instance of NfRemote on a remote computer outbound connection 164 Chapter 21 Remote Interface Software Outbound Common System Sas Host 123 45 67 89 7373 Host Host Connect Connect Connect One example of how this can be used is for technical support By creating an outbound connection you are connecting to the support engineer s NfRemote computer which in turn allows them to control your Omnia 9 In such a situation the support engineer would provide an IP address or host name and a port number separated by a colon 123 45 67 89 7373 for example Because IP addresses are commonly dynamically allocated using a host name is the preferred convention Client Only Controls As mentioned earlier the remote interface looks nearly identical to Omnia 9 s front panel display If you have already familiarized yourself with its cont
145. mpt to assign Omnia 9 an IP address The remote software client NfRemote is always available from within Omnia 9 itself and can be retrieved using the built in HTTP server Any time you update your Omnia 9 software it is a good idea to update your NfRemote software as well to ensure compatibility The computer used to access the HTTP server must be on Omnia 9 s white list and Omnia 9 must be set up properly on your local network To place a computer on the white list navigate to System gt System Config gt HTTP Access and enter the IP address and subnet mask in the format shown below System Config HTTP Access HTTP Server IP whitelist IP 1 192 168 1 1 255 255 255 0 HTTP port 7380 Format IP mask Using a web browser of your choice and the actual IP address of your Omnia 9 to replace the sample address here enter http 192 168 1 1 7380 This will bring up the HTTP server home page which contains a link to the NfRemote software Download locate and install the software Once installed assign a friendly name of your choice in the Comment field enter the IP address and password and click Connect 1 2 w wo NtRemote Version 2 24 09 E1 x Comment Local Omnia 9 IP 192 168 1 20 Audio Streaming Automatic i Connect Add Update Delete Move Up Move Down Mouse 178 Chapter 23 Signal Path Diagrams Chapter 23 Signal Path Diagrams Morbidly curious
146. n Here are some ways to creatively use the PS field By splitting text with the symbol each text will alternate for 3 seconds WOMN FM 88 5 FM NOW WITH OMNIA 9 or WOMN FM TODAYS HOTTEST HITS To change the amount of time the text is displayed put the desired time in front of the text in seconds 1 5s WOMN FM 3 0s 88 5 FM 1 5s OMNIA 9 In this example WOMN FM will be displayed for 1 5 seconds 88 5 FM will be displayed for 3 seconds and OMNIA 9 will appear for 1 5 seconds The RT field provides a 64 character free form message It can be static to provide a station slogan or dynamic and in sync with station programming to provide song titles and artist information Dynamic updating is accomplished via the HTTP automation interface The Program Identification field should contain the PI code unique to your station Program Type Menu The Program Type Menu allows you to choose the RDS mode USA or Europe enable Dynamic Program Type PTY and choose a PTY code 19 Chapter 11 FM Menu RDS Program Type RDS Europe v Dynamic PTY PTY Code None v When enabled Dynamic PTY indicates to listeners that the type of programming on your station may change periodically This would be useful for a station that for example broadcasts music during the week 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 Stati
147. n coupled Attack coupled and Release coupled controls allow you to adjust all the bands simultaneously by an equal amount in their corresponding sections Multiband Setup Menu The Multiband Setup menu provides control over the number of processing bands employed as well as the maximum gain progressive release gate threshold freeze threshold and gate delay controls Also found here are the enable buttons for gain reduction override and controls for the gain reduction ratio 50 Chapter 9 FM Menu Processing for FM FM Processing Multiband Setup Bands 7 Bi G R Ratio Override Maximum Gain 16 00 dB B2 G R Ratio Override Ratio 5 671 B3 G R Ratio Override Progressive Release 100 B4 G R Ratio Override Gate Threshold 30 dBFS B5 G R Ratio Override Freeze Threshold 42 dBFS B6 G R Ratio Override Gate Delay 190 ms B7 G R Ratio Override e The Band slider determines the number of bands in the multiband processing section and ranges from 2 to 7 The Maximum Gain Ratio Gate Threshold and Freeze Threshold controls work in the same manner as their counterparts in other sections of the Omnia 9 e The Gate Delay control determines how long the Gate Threshold and Freeze Threshold controls wait before they begin working The range of this control is between O and 255ms Setting the control to O means that as soon as audio falls below the threshold as determined by the settings of the Gate and Freez
148. n enter the stream s title and select the channel mode sample rate and bit rate Streaming 1 Streams MP2 Encoder Stream Title Omnia 9 Stream Disabled Bit Rate 128 kbps Enable Channel Mode Stereo wv Sample Rate 44 1 kHz wv Gain 0 0 dB The Title field allows you to enter the stream title displayed to listeners and on public listings such as shoutcast com The Enable control enables or disables the stream When enabled the encoder will continually try to connect to the specified server The Channel Mode menu provides a choice between Mono Stereo Joint Stereo and Dual Channel The Bit Rate menu allows you to choose encoding bit rates between 64kbps and 384kbps Your choice of bit rate settings will significantly influence the audio quality of your stream However you will also need to take other factors into consideration such as the total amount of bandwidth available for the stream the anticipated number of users your maximum upload speed and the download speed limits of your intended users The Sample Rate menu will either maintain Omnia 9 s system sample rate of 44 1kHz or 48kHz depending on the sample rate setting in the encoder or result in a high quality re sample to 8 11 025 12 16 22 05 24 32kHz 105 Chapter 16 Streaming Processing amp Encoding Menu e The Gain control determines the final output level into the encoder MP2 Server Menu The MP2 Server menu allows you to input and set u
149. n 1 1 and 4 1 The Minimum Ratio and Maximum Ratio determine the absolute minimum and maximum ratios respectively for each band Expander Ratios Bi Minimum Ratio 1 60 1 Bi Maximum Ratio 2 99 1 B2 Minimum Ratio 1 00 1 B2 Maximum Ratio 2 9971 B3 Minimum Ratio 1 00 1 B3 Maximum Ratio 2 43 1 B4 Minimum Ratio 1 00 1 B4 Maximum Ratio 2 00 1 B5 Minimum Ratio 1 00 1 BS Maximum Ratio 2 00 1 There are three additional meters in the Undo metering window for audio levels at the input to Undo after the de clipper but before the multiband expanders and at the output of Undo following the de clipper and expanders In each case the bright orange bar indicates average levels the darker orange bars indicate peak levels and the floating orange blips serve as peak hold indicators Omnia 9 CPU Load 9 Undo Input 1 Peak Blips Meters 20 12 14 Dynamics Expansion Ratio Expander Thresholds Multiband Exp Speed Governors Input Output Average Level Meters 39 Chapter 9 FM Menu Processing for FM Chapter 9 FM Menu Processing tor FM You have to start somewhere Here is good Chapter 9 FM Menu Processing for FM FM Menu Processing for FM You Have to Start Somewhere The FM Menu The main FM Menu contains for sub menus for Processing MPX Input RDS and Meter Options ly i FM ane Speaker Vol O alle ry Y Location LHC Radio ee oiii z 136 0 dB kazan I 2
150. nd audio encoding computers you ll have plenty of time to take phone calls from the program directors and engineers of the other stations in town who have been spending their time trying to figure out why your FM radio station not only sounds bigger on the dial than theirs but why your music sounds better than it does on the CD How long you want to keep them guessing is entirely up to you Chapter 2 Quick Startup Guide Chapter 2 Quick Startup Guide In a hurry to get your Omnia 9 on the air We understand Here are the down ana dirty bare essentials to get you up and running in a jiffy Chapter 2 Quick Startup Guide Quick Start Setup Guide We know that you re probably in a hurry to get your new Omnia 9 installed and on the air If you have technical expertise and previous knowledge of audio processor fundamentals this Quick Start Setup Guide will get you up and running as quickly as possible It is important to remember that because Omnia 9 can be configured in many different ways not all features and capabilities referenced in this guide or in the full product manual may be available in your particular unit Therefore some screenshots may differ slightly in appearance We suggest having an assistant on hand when racking up Omnia 9 to help balance the unit during installation and strongly recommend using all 4 rack screws for the best support Although Omnia 9 is fan cooled leaving an empty rack space directly above and below
151. ng the condition in which release stops completely is indicated by the same red ribbon but slightly brighter Dry voice detection is indicated by a green ribbon in the same location If the Wideband AGC2 compressor is enabled and placed after the multiband section or it is used in one of its Bass modes its meter will be displayed separately to the right of the multiband display The Wideband AGCS3 meter will appear after the multiband section as well if it has been enabled The Multiband Output meters show the levels after the multiband processing section but before the Bass Clipper and Final Clipper The MPX meter shows the final output of Omnia 9 s FM processing core including L R L R and pilot plus RDS when enabled The L R meters show the output of the L R clipper which is useful only if you are using the Analog or Digital FM L R outputs The Multiband Stereo Enhancer meters will be displayed if the current preset employs this feature Yellow bars extending from the middle outward toward the left and right of the display indicate a widening of the stereo image Red bars extending from the left and right edges toward the middle indicate a narrowing of the stereo image 22 Chapter 6 The Home Menu Chapter 6 The Home Menu There s no place like home Dorothy Chapter 6 The Home Menu The Home Menu Omnia 9 s Home Menu is the highest level menu available in the user interface From here you can
152. ng Core is a low latency processing core mainly designed for talent monitoring Its menu allows you to choose the input source load and save presets and make changes to the Parametric Equalizer Downward Expanders Input AGC Wideband AGC1 Multiband Stereo Enhancer Multiband AGC and Limiters Wideband AGC2 and Band Mix sections Home Studio Processing PrOGeSsing Load Preset Save Preset Preset Protection Downward Expanders Input AGC Wideband AGC 1 Parametric Equalizer Stereo Enhancer Multiband Setup MB Attack Release MB Thresholds Dry Voice Detection Wideband AGC 2 Wideband AGC 3 Band Mix Display Settings The vast majority of the menus and controls in Omnia 9 s Studio Processing core operate just as their counterparts in the FM Processing core do A detailed explanation of each menu and control can be found and referenced in the FM Processing menu section of this manual The exception is the Band Mix controls explained below e The Band Mix Menu contains the controls for the individual band output levels the Final Limiter Drive the Output Level and an option to enable or bypass the Multiband Limiters Studio Processing Processing Band Mix Band Mix coupled Bi Level 0 25 dB Anal Limiter Drive 1 50 dB B2 Level 0 75 dB Output Level 0 00 dBFS B3 Level 1 00 dB Multiband Limiters B4 Level 1 50 dB B5 Level 1 50 dB B6 Level 2 00 dB B7 Level 0 00 dB 91 Chapter 14 Studio Processing
153. ns gt Diversity Delay menu Double clicking on the slider will bring up three independent sliders for Coarse Medium and Fine adjustment 175 Chapter 22 Frequently Asked Questions FAQ system I O Options Diversity Delay FM Diversity Delay FM Diversity Delay 0 00 ms Coarse FM Diversity Delay 0 00 ms Medium FM Diversity Delay 0 00 ms Fine tune Done I m having difficulty getting my Omnia 9 on my local network I can t ping it either As a security measure Omnia 9 is not ping able on the network so the inability to get traditional ping response is not necessarily a sign of a problem There are two basic conditions that must be met before a remote connection to Omnia 9 is possible e Omnia 9 must have a password set up via the front panel e 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 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 units password White listing IS required to access the built in HTTP server however To set up a password navigate to the System gt System Config gt Password menu from the front panel Enter your password in the Enter Password and Repeat Password fields and click on the Set Password button 176 Chapter
154. nsmitter No tower No problem Chapter 16 Streaming Processing amp Encoding Menu The Streaming Processing amp Encoding Menu The audio for Stream 1 is shared with the FM and HD 1 sections of Omnia 9 while Streams 2 and 3 are shared with their corresponding HD 2 and HD 3 However each stream can be processed completely independently of its corresponding HD core The Streaming menu for each of the Streaming 1 Streaming 2 and Streaming 3 sections contains sub menus for processing provided the conditions that allow for independent streaming processing as outlined above are me and for configuring the various encoder and server options Streaming 1 Processing Streams Meter Options A detailed explanation of setting up and configuring streaming encoders and servers would require an entire manual of its own and is beyond the scope of the general Omnia 9 manual We have assumed that 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 your IT administrators to obtain the information specific to your operation Processing Menu The menus and controls in each of Omnia 9 s Streaming cores operate just as their counterparts in the HD Processing cores do which in turn are very similar to their counterparts in the FM processing section A detailed explanation of each menu and control can be found and re
155. nu allows you to input and set up your server settings 107 Chapter 16 Streaming Processing amp Encoding Menu Streaming 1 Streams Vorbis Server Stream Title Omnia 9 Server ic2 example com 3712 Mount point example0 1 0gg Stream Description User name source Stream Disabled Allow Public Listing Password Apply Immediately Url http www omniaaudio com 9 The Title field allows you to enter the name of your audio stream The Server field should contain the URL of the server including the port in the following format streamingserver example com 8000 The Mount Point field for Icecast 2 servers should contain the mount point on the server in the following format example1 mp3 following the server name Enabling the Allow Public Listing control sets the public listing allowed flag in the stream as determined by the server The URL field is a metadata field whose information is sent to the server to be potentially displayed in the listings and player The URL is typically the station s official home page The User Name field contains the user log in name for the server The Password field contains the password for the server The Genre field is also a metadata field The type or style of content found on the stream is typically entered here The Apply Immediately control determines whether any changes you make to the server settings take effect immediately WMA Encoder Menu The
156. o Second 00 Tuesday senna Wednesday Trigger Now Thursday a ey ca Function Disable ww Friday LS A a we Saturday The time at which the event occurs is determined by the Time hours and minutes and Second seconds sliders e The Function control selects the general event category while the pull down menu beneath the Function control is context sensitive and provides a list of choices appropriate for the general event category For instance if the Function control is set to FM Processing Preset a list of processing presets will be displayed Once these parameters are set the Event Enable control not surprisingly enables that event to occur at the specified date and time Note Be sure to set the day time and function parameters prior to enabling an event Clicking or tapping the Trigger Now button executes the event immediately The current event remains active and on the air until the next scheduled event occurs If only one event is scheduled those parameters will remain active indefinitely or until another event is added to the schedule GPI Menu The GPI menu contains only one control to enable or disable GPI functionality When enabled the following functions can be controlled Undo Preset per processing core Processing Preset per processing core and Dry Voice Detection per processing core Input Source selection is not yet available but may be added in a future software update
157. o clone settings to transfer to another Omnia 9 The Input Options menus are where you choose which physical rear panel input Analog Main Digital AES Reference Aux Digital feeds each of Omnia 9 s audio input paths 126 Chapter 18 System Menu Home System I O Options Input 1 4 h Primary Source Analog Ww Clip Warning Secondary Source Analog High Pass Filter 15 Hz v Studio Source Analog v Low Pass Filter 18000 Hz Input Preference Primary The Primary Source drop down menu determines the audio source of each input In the event you lose audio from the primary source you may use the Secondary Input Source drop down menu to select audio from an alternate source The Input Preference control determines whether or not Omnia 9 keeps the current secondary audio source on the air after audio returns to the primary input source or switches back to the primary source e The Studio Source drop down menu allows the low latency studio processing core to be fed independently a useful feature for stations that utilize a profanity delay in their air chain and need a pre delay feed for talent monitoring e When enabled the Clip Warning control will cause the Input meters to flash red when the audio hits full scale In a normal studio environment Clip Warning should be turned on to keep the operator from overloading Omnia 9 s input However if you are in a test environment and feeding a CD player directly into one of
158. o outputs via its Left and Right Outputs in the Main Analog I O section of the rear panel two AES EBU digital outputs on standard XLR connectors in the Main Digital I O section an additional digital output in the Aux Digital I O section and two composite MPX outputs in the Composite I O section Return to the I O Options menu then select Main Outputs Drop down menus are provided to assign the outputs and set the levels of the Main FM Out 1 Main FM Out 2 Aux Out and Analog Out jacks on the rear panel Output audio choices include FM Pre emphasized L R FM De emphasized L R HD 1 HD 2 HD 3 Headphone Out and Speaker Out A complete explanation of these controls can be found in the System Menu section of the Home Menu e Note FM De emphasized L R is the least recommended output option especially for analog Although is it possible in theory to have excellent peak modulation control even with external pre emphasis in practice not every stereo generator does pre emphasis correctly Certain stereo generators use phase linear pre emphasis in DSP which is incorrect and causes roughly 20 overshoot 2dB loudness loss when used with any audio processor We recommend connecting the output of your stereo generator to one of Omnia 9 s composite inputs watching the Left De mod waveform on the oscilloscope and comparing it to L R Output Left Pre emph If you see high frequency peak overshoots the stereo generator is faulty by design and must eit
159. oint in an oscilloscope display window Typically this should be set to match the pre emphasis of the input signal either 50 or 7SUS The Add Delay control allows you to delay the audio coming in from the external MPX Input to match that of the Omnia 9 Since the outputs of most modulation monitors and tuners have some tilt present controls to adjust compensate for Tilt Amount and Tilt Coefficient are provided To get a good square wave reference tune in a station with bass heavy programming and heavy processing for visual flatness on the oscilloscope You can also tune in your own station to verify STL and exciter performance The PEQ button enables the 2 band parametric equalizer When the PEQ is enabled the sliders to adjust center frequency width and gain are available to make any necessary adjustments The PEQ can be set to be phase linear phase forward or phase reverse via the Phase drop down menu below the gain slider The most likely mode will be phase forward to match an analog filter inaccuracy but phase linear may be the preferred choice to counter a digital filter If you have an exciter that you know to be perfectly accurate Such as a direct digital synthesis exciter but a receiver that is not you can use Omnia 9 s MPX test tone generator in conjunction with the MPX Input PEQ to equalize the high frequency response of your receiver to achieve a more accurate result emph Input Menu The Pre emph Input menu contains the
160. on which is covered in greater detail later in this manual is normally done at relatively 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 remains the same the way our ears perceive different frequencies at lower sound levels will cause the audio to sound different Specifically lower and higher frequencies will sound softer than mid range frequencies Do not be alarmed if you find you need to add several decibels of low frequency boost at a very low frequency and a width of 3 0 octaves or so in order for the bass to sound balanced at lower volumes The same is true for higher frequencies but normally a dB or two is sufficient perhaps at a very high frequency with a width of 2 0 octaves or so The Frequency Width and Gain sliders operate in the same manner as their counterparts in other sections of the Omnia 9 in which a parametric equalizer is offered e The Band Min slider sets the point at which any equalization established by the Frequency Width and Gain sliders are begins to take place The Band Max slider sets the point at which the maximum amount of equalization is reached If the Gain slider is set to OdB and the Band Min and Band Max sliders are set to the same value the equalizers in the Loudness 1 and Loudness 2 menus can be used as additional static EQ bands if
161. on of Omnia 9 when this feature is engaged PrOGessing Dry Voice Detection ETE At ETENE RE TDA 1 Vee Lim Thr 15 4 5 3 00 dB 0 00 dB EADE Ak PEATE Re PEADVoce Tat mezvet Te 15 5 0 25 dB 0 00 dB EK a ENO EAK ESDA Re MESDAMES Attack coupled 15 5 4 00 dB 0 00 dB Dry voice is one of the most difficult waveforms to process cleanly as the human voice is complex in 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 maximize loudness may find that bare vocals come through with unacceptably high levels of audible distortion Omnia 9 overcomes this situation by automatically detecting in the Auto mode when the input audio is dry voice and using a separate set of multiband targets attack rates and release rates This allows the dynamics section to do more of the heavy lifting and reduces the amount of clipping necessary to maintain the same level of loudness e The Dry Voice dropdown menu can be set to Off Auto or Force Off completely turns off this feature Auto allows the processor to automatically detect the presence of dry voice Force overrides the main multiband settings and uses the Dry Voice Detection settings at all times The default setting depends upon preset chosen most presets have this featured set to Off by default while the default setting for more aggr
162. ont panel We do too Stacked Boxes pays homage to the not so distant past of analog processing Stacked Boxes Plus by Jim Kuzman Offspring of Stacked Boxes the Plus version uses six bands of multiband compression and limiting instead of four providing a similar overall feel as the original but with more refined mids and better source to source spectral control 159 Chapter 20 Factory Presets The Blitz by Jim Kuzman Living proof that loudness and high quality audio are no longer mutually exclusive qualities this 6 band preset hands over tight solid bass intelligible mid range an airy high end and a wide stereo image Designed to provide the maximum degree of loudness but never at the expense of audio quality The Blitz is a great choice for classic and active rock formats with plenty of room for an extra dB or two on the clipper drive for those who need more loudness Thanks Bill Tokyo by Jesse Graffam Born of Passive Aggressor and created in homage to the classic sound of previous Omnia processors the 7 band Tokyo delivers detailed transients and percussion without sacrificing average loudness The mid range is full and round with increased vocal intelligibility a sound that translates well to smaller speakers and earbuds as well as higher quality systems A tightly controlled low end ensures the bass always shows up for the party Trinity by Leif Claesson Inspired
163. or 48kHz depending on the sample rate setting in the encoder or result in a high quality re sample to 8 11 025 12 16 22 05 24 32kHz The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps Your choice of bit rate settings will significantly influence the audio quality of your stream However you will also need to take other factors into consideration such as the total amount of bandwidth available for the stream the anticipated number of users your maximum upload speed and the download speed limits of your intended users The Audio Bandwidth menu allows you to set the high frequency range of the stream between 3 and 20kHZ Unless you have a specific reason to set the bandwidth manually we strongly recommend leaving this control set to Encoder Default The Encoding Quality menu provides a choice between Best Normal and Low CPU which allows you to balance the tradeoff between higher audio quality and lower CPU usage The Gain control determines the final output level into the encoder If you are encoding to a low bit or sample rate you will almost certainly need to turn this down to prevent harsh crackling sounds resulting from clipping in the receiving decoder MP3 Server Menu The MP3 Server menu allows you to input and set up your server settings Streaming 1 Streams MPS Server Stream Title Omnia 9 Server ic2 example com 3712 Mount point example0 1 mp3 Stream Description Server Type Ice
164. ou can see what you are hearing and make informed and intelligent adjustments to your audio that were heretofore difficult if not impossible to make Chapter 1 The Omnia 9 Story That s A Lot of Power If it sounds like there s a lot to Omnia 9 well there is Chances are Omnia 9 is unlike any processor you ve ever used Giving you full access to all of its controls is like giving you the keys to an exotic sports car If you know what you re doing you re in for quite a ride And if you don t well lets just say there are lots of ways to get yourself loose in the corners and end up in the weeds But for all of its capabilities Omnia 9 is not difficult to set up and use We ve given you some great presets created and tuned by people who know Omnia 9 best that will either satisfy your on air processing goals right out of the box or will get you close enough to your desired sound so that you can make some tweaks to suit your individual needs and tastes for your format in your market That said we highly recommend that you set aside some time up front to understand the various design philosophies and controls that make Omnia 9 so unique versatile and powerful The time you spend now will pay off exponentially when your on air sound becomes louder and cleaner than you ever thought possible Once you ve learned your way around Omnia 9 and rid yourself of the hassle of trying to keep up with separate processing for your HD channels a
165. oud Decay Rate 6 PG oo a Meters Meters lee lt a deca ER z Peak Hold Undo U Ctri De mod Post Mod Mod menter Auto Left Mtrs orn X Center Auto L R Output De emph MPX pay X Width Auto jii Dec Right MPX De emph Display 5 Scope RTA Center 30 dB Phys SC Input 1 Inputs Piot Tone mee 0 aa sl a La No SCAs dB Scale Position 100 Solo Input 2 O Display 6 The Delay control works the same here as it does previous and subsequent display sections The Resolution control selects the number of frequency bands into which the audio is divided 1x resolution gives you a refresh rate of approximately 48 frames per second and a frequency resolution sufficient for viewing the entire audio spectrum 8x resolutions gives you a refresh rate of approximately 6 frames per second but a much finer frequency resolution The Decay Rate control adjusts how quickly the display will fall after a peak is displayed Lower settings are the slowest while the highest setting is instantaneous 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 The X Center control centers the display at the selected frequency The X Width control sets the displayed frequency range in kHz The Y Center control centers the display vertically around the selected level in dB The Y Range control sets the displayed level range in dB
166. ow threshold is always determined by the Ratio control for all bands Specifically the Gain Reduction Ratio Override control enables or disables the Gain Reduction Ratio controls which are sliders that let you set the ratio of audio above threshold from 1 1 to Inf 1 51 Chapter 9 FM Menu Processing for FM It is worth mentioning again here the importance of a concept unique to Omnia 9 Most if not all other processors top out at 0 that is they constantly operate in a state of gain reduction and once the audio falls below threshold they can no longer increase it any further To make up for the fact that they are capable only of reducing gain they rely upon a makeup gain control somewhere downstream in the audio chain to get the levels back up Omnia 9 is not only capable of gain reduction that is driving audio levels above threshold as other processors do but is also capable of increasing gain below threshold which makes it possible to employ powerful controls like Progressive Release and Gain Reduction Ratio Override Multiband Attack Release Menu The Multiband Attack Release section lets you control the Attack Speed and Release Speed of each band in the multiband AGC section FM Processing MB Attack Release Attack coupled B1 AGC Attack 25 Bi AGC Release 33 Release coupled B2 AGC Attack 39 B2 AGC Release 39 Speed coupled B3 AGC Attack 35 B3 AGC Release 44 Peak Sense co
167. ows you to input and set up your server settings streaming 1 Streams AAC Server Stream Title Omnia 9 Server ic2 example com 3712 Stream Description Server Type Icecast 2 Mime Type audio aac Allow Public Listing User name source Stream Disabled Uri http www omniaaudio com 9 Password Apply Immediately The Title field should contain the name of your audio stream e The Server field should contain the URL of the server including the port in the following format streamingserver example com 8000 e The Mount Point field for Icecast 2 servers should contain the mount point on the server in the following format example1 mp3 following the server name 102 Chapter 16 Streaming Processing amp Encoding Menu Enabling the Allow Public Listing control sets the public listing allowed flag in the stream as determined by the server e The Server Type control allows you to choose between Shoutcast and Icecast2 e The Mime Type control specifies the HTTP Mime Type of the stream and determines whether Audio AAC or Audio AACP settings are used to provide for player compatibility e The URL field is a metadata field whose information is sent to the server to be potentially displayed in the listings and player The URL is typically the station s official home page The User Name field contains the user log in name for the server The Password field contains the password for the server
168. p your server settings streaming 1 Streams MP2 Server Stream Title Omnia 9 Server ic2 example com 3712 Mount point example0 1 mp2 Stream Description Server Type Icecast 2 ww Stream Disabled Allow Public Listing User name source Apply Immediately Uri http www omniaaudio com 9 The Title field allows you to enter the stream title displayed to listeners and on public listings such as shoutcast com The Server field should contain the URL of the server including the port in the following format streamingserver example com 8000 The Mount Point field for Icecast 2 servers should contain the mount point on the server in the following format example1 mp3 following the server name Enabling the Allow Public Listing control sets the public listing allowed flag in the stream as determined by the server The Server Type control allows you to choose between Shoutcast and Icecast2 e The URL field is a metadata field whose information is sent to the server to be potentially displayed in the listings and player The URL is typically the station s official home page e The User Name field contains the user log in name for the server The Password field contains the password for the server The Genre field is also a metadata field The type or style of content found on the stream is typically entered here The Apply Immediately control determines whether any changes you make to the server set
169. pecific IP address SNMP Menu The SNMP menu provides the means to enter the information necessary to facilitate communication between Omnia 9 and your SNMP manager It supports SNMP versions V1 and V2c The SNMP Enable control enables and disables SNMP Note that SNMP must be disabled in order to make changes to this section e The Communities and Trap Sink fields accept the community names and IP addresses or names of the trap receiver 145 Chapter 18 System Menu e The Contact field accepts the e mail address of the designated contact e Information entered in the Location field appears on the front panel display and on remote connections and makes it possible to quickly identify which particular unit you are viewing This is especially convenient if you are monitoring more than one Omnia 9 simultaneously The Omnia 9 MIB file is available via the built in HTTP server on the SNMP Test Page which can be accessed from any white listed computer on your network Enter the IP address of Omnia 9 followed by the port number and SNMP as follows substituting your IP address http 192 168 1 1 7380 SNMP A Test Mode is also provided to help setup and verify proper SNMP configuration and communication Note Please bear in mind that when test mode is enabled no auto generated SNMP traps will be sent and any GETs will return the test value not the actual value Home System System Config SNMP Enable Communities Trap sinks V1
170. picking a preset e Read Chapter 22 the FAQ section Most users have the same or similar questions We ve attempted to answer those here Read Chapter 3 General Processing Advice especially if you don t consider yourself to be a processing expert It s a short chapter but has non technical non product specific tips that will serve as a good foundation as you adjust your sound This is also good reading for your Program Director General Manager or anyone else who may have a Say in the overall sound of the station We encourage you to share it with them Read Chapters 4 and 5 they ll get you familiar with using the controls and reading the meters Read Chapter 9 Processing for FM for a full explanation of the processing controls if you really want to customize your sound This is a long chapter with detailed explanations of the various menus and controls Once you understand the FM section you will have no trouble with the HD and Streaming sections as they operate in a nearly identical fashion Glance through Chapter 18 the System menu or just poke around the System menu on the front panel just to get an idea of what s there These tend to be high level global set and forget items Chapter 1 The Omnia 9 Story Once upon a time Chapter 1 The Omnia 9 Story The Omnia 9 Story How Omnia 9 Came to Be As of the release of this software version and its associated documentation Omnia 9 has been on the
171. protect a preset so that it cannot be modified or copied for use in another Omnia 9 A complete explanation of how to use the Load Preset Save Preset and Preset Protection functions is found in the section of this manual devoted to FM processing Keep in mind however that while the process for loading and saving presets is identical these are two completely independent operations within Omnia 9 with completely different sets of presets Undo Main Menu The Undo Main menu contains the controls to enable and disable Undo Input i Undo Main Bypass Enable Declipper Enable Expander e When selected the Bypass control turns off both the de clipper and the expander portions of Undo The Enable De clipper and Enable Expanders buttons turn the de clipper and expander portions of Undo on and off independently respectively Undo Metering Menu The Undo Metering menu determines which of Undo s four metering functions are displayed in the Undo Meters window A more comprehensive explanation of how to read and understand the Undo meters is provided later in this section when the various Undo controls are explained When enabled the Show Dynamics Detector Meters Show Expander Ratio Meters Show Speed Governor Meters and 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 Show Dynamics Detector Meters Show Expander
172. provides additional controls for enabling Client Audio and SRC choosing an Output Device adjusting Client Volume and setting the Audio Buffer An additional patch point for monitoring the Client Mic Input is also available 165 Chapter 21 Remote Interface Software e When selected the 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 bandwidth as does displaying patch points on the oscilloscope FFT spectrum analyzer or RTA During handshaking the remote control software measures the available network bandwidth If you are on a local network you will get PCM NICAM streaming If you connect over the internet with sufficient bandwidth you will get data reduced streaming If bandwidth is marginal certain patch 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 MPX Decoded which do the decoding and de emphasis in the Omnia 9 itself and transport flat audio which require only 200kbps e Enabling the SRC control lets the client software dynamically adjust the sample rate of the client playback If you are experiencing interruptions or dropouts to the client audio stream enabling SRC will result in a steadier connection though at a slight cost to CPU usage Regardless the c
173. put meters with an adjustment range of 18dB e The Invert control allows you to swap the polarity of only the left channel input only the right channel input or both the left and right channels simultaneously e The Mode control offers five combinations to determine how the input audio is fed into Omnia 9 in terms of left and right channels e L R sends left channel input audio to the left channel and right channel input audio to the right channel default setting e R L sends left channel input audio to the right channel and right channel input audio to the left channel e L R sends both right and left channel input audio to both the left and right channels e L sends only left channel input audio to both the left and right channels e R sends only right channel input audio to both the left and right channels Diversity Delay Menu The amount of delay introduced to the FM analog signal in order to match the corresponding HD 1 audio is set with in this menu with the FM Diversity Delay slider ranging between 0 and 20 000 ms Setting this control properly and monitoring your FM and HD 1 signals regularly will ensure as smooth a transition as possible between the analog and digital signals for listeners with HD receivers Silence Detection Menu As previously indicated Omnia 9 can switch over to a user determined secondary input source when audio from the primary source is interrupted 128 Chapter 18 System Menu
174. r Choosing a Preset Regardless of whether you end up using a supplied preset as is or make adjustments to customize your sound you must start with one of the factory presets We recommend you find one that most closely matches your goals and then make any modifications from there as needed Most processors use radio format names to try and define their sound but then go on to explain there s no reason a rock station shouldn t try out the Country preset which is very true As a rule Omnia 9 takes a deliberately different approach and most of its presets don t give you any hint as to who should use them or how in the hopes that you ll step out of your box a bit and explore If your Country station sounds great on the air with settings that might mimic an Urban preset with a slamming low end and a nice open mid range the last thing we want to do is make you second guess yourself because the preset name doesn t match 13 Chapter 3 General Processing Advice Making and Saving Changes Human nature is fickle the human ear adapts and tires quickly and Omnia 9 is powerful With those things in mind here are some recommended Do s and Don ts when making and saving changes to presets DO resist the temptation to constantly fiddle with every control right after you put Omnia 9 on the air DON T make hasty radical changes DON T make adjustments to too many parameters at once
175. r Omnia 9 by entering http lt IP Address gt 7380 into the address window of any standard web browser for example http 192 168 0 183 7380 You will see a screen entitled Welcome to Omnia 9 HTTP Server with a current version number Under the Downloadables section click on the link following Download Remote Interface This should be done each time you update the software in your Omnia 9 to ensure full compatibility between the unit s software and the remote software Some Important Ethernet Wi Fi Network Considerations While the client software itself is not a terribly resource intensive application it does place some demands upon your local network The client allows you to make live adjustments to the Omnia 9 observe its meters as well as other displays such as the oscilloscope in real time and on networks with sufficient bandwidth play audio from the Omnia 9 to your remote control PC The more information the client asks for the more critical it is to have a robust Ethernet or Wi Fi connection to the between it and Omnia 9 162 Chapter 21 Remote Interface Software It is possible to connect to any number of Omnia 9 s individually or concurrently using NfRemote NfRemote Version 2 30 08 omment Omnia 9 IP 197 168 1 20 B asgword ooo Outbound Connection Audio Streaming Automatic Update Delete Move Up Move Down Virtual Machine or Remote Desktop Omnia 9 XE lt 192 168 1 4 7373 gt
176. r i 4 vediz Name Fadin 5 la Yv Source PCM Gain 3 00 dB 5 pelea FM Studio HD1 HD HD3 Streaming Streaming Streaming Processing 1 3 Undo Undo Undo i MPX Phys PEQ uo Pecip pre Post Ctrisig MSS Dec Inputs Prev Program Input MPX Output L R Output MPX Input 1 MPX Input 2 Pre emph Input e The Vox control when enabled pauses recording when no audio is present and has a selectable timeout setting The Gain slider controls the input level into the recorder If for example you are recording from the MPX patch point with this control set at 3dB you will get a 3dB peak MPX file suitable for use in a modulation monitoring software program such as MpxTool e The Minimize File Size control automatically adjusts the recording resolution to match the actual noise floor of the audio allowing you to record a full hour of off air MPX audio in a file size of only 500mb The resulting FLAC file can still be read by any program that supports FLAC 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 to Omnia 9 the Source window will show PCM indicating the recording will be uncompressed PCM source data If you have a slower remote connection the window will show Vorbis indicating that you will be recording the decoded output of a lossy codec In either case the recorder always produces a FLAC Free Lossless Audio Codec file You also
177. r than O thereby causing a sum greater than 100 Undo interprets that information and adjusts the settings of each band to maintain the desired proportion of influence you have set for each band relative to 100 Dynamics Detector to Ratio Menu The Dynamics Detector to Ratio menu allows you to set time constants of the expansion ratio adjustment as well as the Expansion Start levels and Transition Width levels for each of the 5 bands of Undo s multiband expander 34 Chapter 8 Input Undo Menu Input 1 Undo DD to Ratio z 5 Bi Exp Start 1 1 Bi transition to 4 1 Bi Attack 100 Bi Release 100 30 00 dB 14 00 dB x B2 Exp Start 1 1 BZ Transition to 4 1 B2 Attack 100 B2 Release 100 50 00 dB 14 00 dB s B3 Exp Start 1 1 B3 Transition to 4 1 2 B3 Attack 100 B3 Release 100 18 00 dB 14 00 dB BA Exp Start 1 1 B4 Transition to 4 1 B4 Attack 100 B4 Release 100 30 00 dB 13 00 dB n a i BS Exp Start 1 1 BS Transition to 4 1 B5 Attack 100 B5 Release 100 74 00 dB 15 00 dB e The Attack and Release controls for each band determines how quickly the expansion ratio will track along with the dynamic detector settings The default and recommended setting is 100 which means the expansion ratio will track instantaneously with no additional delay e When the dynamics detector falls below a certain level expansion will begin starting at a minimum ratio of 1 1 and incr
178. re planning to use with the Omnia 9 s L R Output path and compare it to the performance of Omnia 9 s built in stereo coder MPX Inputs 1 and 2 are available as patch points which can be viewed on any of Omnia 9 s instrumentations as well as auditioned through the monitor outputs using the built in phase linear reference quality stereo decoder The MPX Input Menu contains additional menus for MPX Input 1 MPX Input 2 Pre emph Input and Display Settings MPX Input MPX Input 1 MPX Input 2 Pre emph Input Display Settings MPX Input 1 and MPX Input 2 Menus The MPX Input 1 and MPX Input 2 menus contain the controls to set the input gain choose a pre emphasis level add delay compensate for tilt and add equalization 82 Chapter 12 FM Menu MPX Inputs MPX Input MPX Input 1 4 Input gain 0 0 dB Tit Amount 0 Freg 1 59216 Hz Freg 2 59216 Hz SOUrCE Pre emph wr Tit Coefficient O Width 1 1 00 Oct Width 2 1 00 Oct 75 us Add Delay 0 ms DC Servo Off wv Gain 1 0 0 dB Gain 2 0 0 dB PEQ Phase Linear wv Phase Linear wv Pre 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 The Pre emphasis setting controls the de emphasis circuit used when the MPX Input patch point needs to be de emphasized such as would be the case when it is selected as the source in a monitor input or if Left De mod is selected when viewing the patch p
179. rence for digital output sample rate e MPX Outputs are DC coupled Distance from Earth to Moon e 238 900 miles External Sync Range e 44 1kHz or 48kHz Inputs Outputs e Balanced EMl filtered L R analog input and output connectors e AES Reference Input Main Digital Input Aux Digital Input Main FM Output 1 Main FM Output 2 and Aux Output on XLR connectors including recognition of external sync signal on AES Reference Input Main and Auxiliary digital inputs accept sample rates between 32kHz 96kHz and have sample rate converters e Shared Ethernet Livewire RJ 45 port supporting 100 and 1000 BASE T Ethernet 194 Chapter 24 Specifications Power Requirements e 100 264 VAC 47 63HZz auto sensing e Power Connector e IEC male detachable 3 wire power cords supplied Power Supply e Dual internal redundant hot swappable supplies Environmental e Operating temperature range 0 to 50 degrees C 32 122 degrees F e Non operating temperature range 20 to 70 degrees C Minus 4 158 degrees F In North America designed to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules CFR Designed for U S and Canadian listing with UL e In Europe designed to comply with the requirements of Low Voltage Directive 73 23 EEC and EMC Directive 89 336 EEC e Designed for ROHS and WEEE compliance Percentage of People Who Read Product Manuals Cover to Cover e 0 00003 195 THE TELOS A
180. ressors e Lower the threshold of the Multiband Limiters You may need to raise the Band Mix to compensate for the additional gain reduction this produces in the limiters e Increase the overall Band Mix level e Raise the Clipper Drive FM core or Final Limiter Drive HD and Streaming cores in 0 25dB steps until advancing the control no longer yields additional loudness only more distortion and then back off a notch Spectral Consistency amp Equalization Stations often want to create their own signature sound on the air with a spectrally consistent output without regard to the frequency balance of the original source material There are basically three ways to alter the spectral balance of your sound with Omnia 9 and each provides a different end result The Parametric Equalizer the Multiband AGC Targets and the Band Mix control Adjustments to each section can produce somewhat similar or very different outcomes depending upon a variety of factors The Parametric EQ is a very versatile and powerful means by which to shape your sound You can set up a shelving EQ to create low bass slam set up a broad gentle cut to the high mids to smooth out horns or female vocalists or add some air or sparkle to your sound by adding a bit of 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 Multiband AGC and Limiters these processing s
181. reviously saved configuration to Omnia 9 Selecting it opens up a Windows Explorer window allowing you to navigate to the file on your computer and select it A confirmation message will appear asking you to verify the upload Note This will temporarily take Omnia 9 off the air and disconnect the remote connection while the configuration file uploads and the unit reinitializes The backup configuration file contains IP related information and the password belonging to the unit that created the file The IP Configuration and Password drop down menus let you decide whether or not this information will be uploaded to the unit being restored Selecting Retain for the IP Configuration the default choice ensures the IP settings in the unit will be retained and NOT overwritten by those in the backup file Whatever settings are already in the unit receiving the upload will be preserved Selecting Override will take the IP settings in the backup file and apply them as part of the restoration process Likewise choosing Retain in the Password menu will keep the existing password stored in the unit while Override will apply the password stored in the backup file Generally speaking if you are working with a single Omnia 9 and need to bring it back to a Known good configuration choose Retain If you are copying a custom configuration to another Omnia 9 and want to avoid potential IP conflicts like duplicate IP addresses or up
182. riginal pre emphasized left right audio signal the de emphasized left right audio signal as well as the MPX signal a stereo coded version of the pre emphasized left right audio signals From the MPX Input 1 and 2 patch points you can view the Multiplex left de modulated right de modulated left de emphasized or right de emphasized audio signal as well as the pilot tone and MPX signal minus SCA carriers The Pre emph Input allows you to view the original pre emphasized left right audio signal the de emphasized left right audio signal as well as the MPX signal a stereo coded version of the pre emphasized left right audio signals The pre emph input is similar to the MPX Inputs but is specifically for use with the L R Outputs from another processor This input can receive audio from any of the three digital inputs but since it is not DC coupled it is not designed to be used with the analog input e From the De clipper patch point you can view the audio signal before or after de clipping in either the left or right channels The Undo Pre patch points allow you to view the audio signal from each of the 5 individual bands of the Undo section after the de clipper but before Undo s multiband expansion in either the left or right channel e 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 mul
183. rols you should feel right at home operating it remotely Therefore only those controls or features unique to the client software will be explained here Joining the Input FM Studio Processing HD Streaming Monitor Output and System Controls on the Home screen is an additional Client Audio menu which contains additional menus for Client Audio Output Client Microphone Input and Client File Recorder Each menu is discussed in more detail in this manual Additionally the 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 the remote PC itself or load a preset from the remote PC to your Omnia 9 This includes flash drives and external USB drives which provides an excellent way to back up any custom presets or easily duplicate those presets on another Omnia 9 When using the Load Preset function be aware that the preset will be loaded to the Current Preset position and will therefore immediately go on the air Additionally in order for the preset to appear in the list you must save it using the Save Preset function Client Audio Output Menu The Client Audio Output Menu contains additional controls similar to those in the Monitor Output menus of the Omnia 9 with a few differences and a TCP Link Status window to provide information about the remote connection Patch Point Menu The Patch Point Menu
184. rophone Input Menu The Client Microphone Input Menu allows you to pick which microphone you d like to use a parametric equalizer to create custom EQ curves for individual mics and the ability to save and recall custom mic presets There is also a duplicate button to the TCP Link Status window and the Display Settings menu for convenience Input Device Menu The Input Device Menu provides a list of available microphones including built in mics and any outboard microphones you may have plugged into the PC running the remote interface software If you plug in an outboard mic while this window is open you may need to tap the Refresh List button in order for the software to recognize the addition Load Preset Menu This menu operates in a manner similar to the Load Preset menu in the various processing cores of the Omnia 9 However the client software offers an additional Load From button that allows you to call up a preset file from the remote PC including from a flash drive or external USB drive 166 Chapter 21 Remote Interface Software Save Preset Menu Just like the Load Preset menu this operates like its counterparts in other sections of Omnia 9 The Save To button allows you to save your presets to a location on the remote PC including a flash drive or external USB drive Client File Recorder Just as it is possible to record audio from various patch points within the processing chain on the actual Omnia 9 itself you can
185. ry 412 presets included with Omnia 9 are tuned in such a way that significantly less power limiting is needed to deliver a compliant output compared to other processors In fact it is not at all 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 Speaking of bass managing bass heavy content presents a special challenge because of the amount of energy typically present in the lower frequencies Most of Omnia 9 s 412 presets make use of the WB AGC2 or WB AGC83 compressors in Bass Only mode This allows the initial portion of the bass waveform to be managed by the clipper while the remainder is processed by the compressor resulting in much higher levels of bass than would otherwise be possible under the limitations imposed by the regulations To prepare Omnia 9 to operate in compliance with ITU R BS 412 MPX Power Control must first be enabled in the System gt System Config gt Processing Cores menu Be sure to Apply Config after enabling this mode and remember that doing so will take the unit off air temporarily Home System System Config Processing Cores 4 b FM MPX L R v Studio Cores 1 v Apply Config MPX Power Control ITU R BS 412 Compliance slide Th glee HD Cores 3 Ww RDS Encoder Streaming Cores 3 Ww Pre emph Input Aux Monitor Output You will notice in the FM gt Processing gt Load Preset Menu that
186. s typically entered here e The Pull Port field allows you to enter the server s port number e The Max Pull Clients control lets you set the maximum number of pull clients We strongly recommend against letting listeners through directly without a server in between e The Push control enables or disables push capabilities outward toward the server much like Icecast or Shoutcast When enabled fields for providing the Push URL Template User Name and Password are accessible Meter Options Menu Just as the FM and HD sections have a Meter Options menu so does the Streaming section including Loudness Meters Loudness Matched A B and Test Input sub menus which make it possible to conduct A B comparisons with another processor while matching gain and delay Controls are explained in detail in HD section 110 Chapter 17 Monitor Output Menu Chapter 17 Monitor Output Menu Q If blissfully clean audio reaches the transmitter but you cant hear it in the studio does it make a sound A Yes but you re really missing out Chapter 17 Monitor Output Menu The Monitor Output menu of Omnia 9 allows you to independently configure the Speaker Output Headphone Output and Auxiliary Output The menus and controls for each of these sections are identical Home Monitor Outputs Speaker Output Headphone Output Aux Output From this menu you can choose which of Omnia 9 s processing cores you wish to monitor and fro
187. s available if L R Audio Clipper is disabled or Composite Clipper is disabled or af three HO processors are disabled or all three streaming processors are disabled 2 If using an external ROS coder make sure to set MPX Output 2 to 19 KHz Generator and feed that to the ROS encoders Pilot input 182 Chapter 23 Signal Path Diagrams Input Section Only one input section shown for simplicity Base model has one multicast model has three MPX Input MPX Input Section Only one shown for simplicity MPX Output ROS Input MPX Output Section hoac nC DAL Nemes at OM SS TM a on ae if you re using an external ROS encoder Ornnia 9 needs to see both Plot and RDS together in sync on its MEX Input it doesn t matter where the pilot came from Omaia 9 will use It MPX 2 Piot ROS Mode Switch Ext 1 2 t 2 o nn However do not set MPX Output 2 to HPX Piles and feed that ito Omnia Fs MPX input because that Constitutes feedback loop You may set MPX Output 2 to 19 kHz Generator to provide a pilot reference for your RDS encoder 183 Chapter 23 Signal Path Diagrams MPX Patch Point MPX Patch Point Used for both MPX Inputs and the MPX Output FFT Spectrum and Oscilloscope can view any channel RTA and Monitor Out can use only listenable channels File Recorder records only source channels Listenable Listenable 184 Chapter 23 Signal
188. s in very loud markets with great success If you have your eyes set on creating your very own custom preset for your station this is the preset with which we recommend you begin your masterpiece as it is straightforward and doesn t include any little tuning tricks to create a particular effect Rustonium by Leif Claesson and Jesse Graffam A hybrid of two past presets Jesse s Rusticity and Leifs Plutonium Rustonium is Omnia 9 s default preset The bass is always present but punchy while the high end is bright and prominent but never shrill or edgy The multi band attack and release times are relatively slow but this 7 band preset makes extensive use of Omnia 9 s progressive release control to allow plenty of gain control in each band without the fear of any band getting stuck with too little gain This preset also places the Wideband AGC2 after the multi band section to build some extra loudness just before the final clipper A great as is out of the box preset for nearly every contemporary format Stacked Boxes by Jim Kuzman Remember back when the dial dominating air chain was made up of a rack full of analog gear Say one box for compression and leveling another pair of boxes with lots of LED s providing 4 band compression and a program peak limiter maybe from the same folks as the compressor leveler all driving a final limiter clipper with edge meters and a key locked fr
189. s of the Limiters and Clippers Both processes can add to dial loudness but each does so in a different way with different sounding results and if used to excess different sounding artifacts The added short term density provided by peak limiting can still make audio sound dull or overly dense and create intermodulation distortion and a little still goes a long way The amount of limiting action is somewhat dictated by the program material itself Audio that is already dense and has a high average level even after being processed by Undo will still cause less peak limiting than material that is more open with lower average levels and higher peak levels For example almost any poorly mastered current CD that s already been squashed down and has only a few dB s of dynamic range already is not going to get the limiters moving but a well mastered Steely Dan song will Excessive clipping on the other hand creates harmonic distortion and can make things sound edgy or torn It is imperative to remember that even when all out loudness is your goal there will come a point when driving the clippers harder will not create additional loudness but will create more distortion and there is no benefit to going beyond that point Achieving a High Quality Sound When all out loudness isn t your primary processing goal and you are willing to give up just a bit of dial dominance in the name of quality here are some suggestions
190. se stages The Multiband Solo menu allows you to individually monitor the audio in each band of the multiband AGC Streaming 1 Streaming 2 and Streaming 3 Patch Points You can feed each of the three Monitor Outputs audio from various points within each of the Streaming processing cores 115 OE Monitor Outputs Speaker Output Patch Point Follow Volume 26 0 dB Chapter 17 Monitor Output Menu Studio Streaming Streaming Streaming r J Processing 1 2 3 Physical Sidechains Multiband Declipper Undo Pre Undo Post Inputs Solo Program Input Digital Output The I O menu allows you to listen to either the Program Input or the Digital Output of each HD processing core The De clipper menu lets you monitor the audio either before or after the De clipper The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the entire Undo chain The Undo Post menu lets you listen to the audio of the Undo section or to each individual Undo band after it has been processed by Undo but before it enters the main audio processing core The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched Input The Physical Inputs menu allows you to monitor any of the rear panel input points including Main Digital AES Reference Aux Digital and Analog The Sidechains menu allows you to monitor the audio passing through the Input AGC Wideband AGC
191. 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 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 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 HD and other non FM Processing cores As with the Bass Clip Threshold controls only the monitor output audio is affected Loudness 1 and Loudness 2 Menus The Loudness 1 and Loudness 2 menus allow you to automatically change the equalization of each monitor output depending upon the volume level 120 Chapter 17 Monitor Output Menu Monitor Outputs Speaker Output Loudness 1 A Volume 26 0 dB Band 1 Min 0 dB Band 2 Min 0 dB Band 3 Min 0 dB Band 1 Max 0 dB Band 2 Max 0 dB Band 3 Max 0 dB Loudness Bi PEQ Freg 199 Hz B2 PEO Freg 199 Hz B3 PEQ Freg 199 Hz Bi PEQ 1 00 oct B2 PEQ 1 00 oct B3 PEQ 1 00 oct Bi PEQ Gain 0 0 dB B2 PEQ Gain 0 0 dB B3 PEQ Gain 0 0 dB Current 0 0 dB Current 0 0 dB Current 0 0 dB Speaker calibrati
192. t Clicking on the Connect button will initiate a connection to Omnia 9 whose IP address is currently displayed The Clear button removes all information from the Comment IP Address and Password fields The Add button carries the current Comment IP Address and Password information and carries it to the bottom of the window where it is saved for easy recall later The Update button refreshes the list of saved connections Clicking on the Delete button will remove the selected connection from the list 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 The User Interface Pointing Device dropdown menu offers several choices for optimizing NfRemote depending upon the type of device you are using e Local Mouse or Touchpad should be selected if you are running NfRemote on a local PC or laptop e Virtual Machine or Remote Desktop is the correct choice if you are connecting to the computer running NfRemote from another computer This includes software like Parallels VMware Team Viewer GoToMyPC Remote Desktop Connection or a VNC client Wacom Digitizer users should also selection this option e Local Mouse Touch Simulation allows you to use the finger friendly layout of the Touch Screen option but with a mouse It can also be used instead of the Virtual Machine or Remote Desktop option e Touch Screen provides a finger friendly layout opti
193. t This is especially useful when the Follow control is enabled as it prevents the selected patch point from being accidentally changed by someone connected via a remote client e 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 switched over to the HD 2 signal And while we re on the subject let us go on record as stating we do not endorse the idea of deliberately confusing the talent in this manner We re just saying it could accidentally happen Officially we strongly recommend locking down any monitor output put in active use e The Monitor Output sections each contain Protection Limiters a useful feature when performing speaker calibrations which are often performed at higher than normal volume levels and can involve radical amounts of parametric equalization in the pursuit of a flat frequency response The Master Gain control adjusts the output level of each Monitor Output section relative to the Protection Limiter If you find yourself hitting the limiter at normal volume levels during or after calibration reduce the Master Gain control You may also find that in the course of calibration you have made significant cuts to achieve a flat output and need to use this control to raise the output level so that the calibrated and un calibrated outputs match volume wise when you compare them by using t
194. t much time passed before you actually heard what you were seeing on the meters By advancing the Delay control to 10 000ms what your 58 Chapter 9 FM Menu Processing for FM eyes see on the meters will coincide with what your ears are hearing Keep in mind however that any changes you make to the processing will still take 10 seconds to be audible The Processing Meters menu allows you to display the levels and activity of Omnia 9 s various gain stages and processing sections 42 36 30 24 18 42 6 0 8 yo E j Input aa ce 6 at vw hal A B n p FMA Main Digital Rustonium m1 12 Auto Bal StEnh 24 AGC Multiband Processing Display Settings Display 1 Undo Delay 0 ms Meters Meters Display 2 Input Loud Meters Meters Display 3 P S Mtrs Num Display 4 Scope RTA Display 5 Display 6 FFT Oil The Input Meters menu allows you to monitor the audio levels entering Omnia 9 with ITU BS 1770 bargraph meters 59 Chapter 9 FM Menu Processing for FM O m nN Iq 9 Fas CPU 25 Speaker Vol Location SysLocation 26 0 dB BY LEIF CLAESSON Input fleters Input Input Main Digital Display 1 Display 2 Display 3 Display 4 Display 5 Display 6 Undo Meters Input Meters Mod Mtrs Scope FFT Loudness Meters Menu The Loudness Meters menu provides separate loudness meters for Program Input MPX Output L R Output and if enabled the o
195. t straight forward means of getting RDS data on the air since everything is handled within Omnia 9 itself RDS Using Built In Encoder Audio p gt Composite Composite Audio In gt Integrator gt MPXOut c STL or 4 RDS Encoder Exciter p F j 7 w i Omnia 9 Using External RDS Encoders If you prefer to generate RDS data externally instead of utilizing Omnia 9 s built in encoder or your situation dictates that you do there are various options available for nearly every hardware and software encoder available Some common scenarios are outlined below with details about how to set Omnia 9 s various RDS controls for each situation Using an RDS Encoder with Omnia 9 s Psychoacoustic Composite Clipper It is possible to utilize an external RDS encoder without losing any loudness by integrating it with Omnia 9 s composite clipper To do so you must feed both the encoder s MPX and Pilot inputs with an independently generated 19kHz signal and in turn feed the output of the encoder with RDS and Pilot to one of Omnia 9 s MPX inputs Omnia 9 s MPX 1 Output will feed the exciter directly 75 Chapter 11 FM Menu RDS RDS Using External Encoder But With Omnia 9 Psychoacoustic Composite Clipper Audio gt nth rm In Composite es Y Integrator Composite as a gt me gt cer Exciter i 19kHz i Omnia 9 Generator E Pilot and 4 j MPX In RDS Qh External RDS Encoder pilotin Je B
196. tal and Analog HD 1 HD 2 and HD 3 Patch Points You can feed each of the three Monitor Outputs audio from various points within any of the HD processing cores 114 Chapter 17 Monitor Output Menu Home Monitor Outputs Speaker Output Patch Point Follow Volume 26 0 dB Studio Streaming Streaming Streaming r J Processing 1 2 3 Physical HOE Ie aoe Multiband Inputs Solo Declipper Undo Pre Undo Post Misc Program Input Digital Output The I O menu allows you to listen to either the Program Input or the Digital Output of each HD processing core The De clipper menu lets you monitor the audio either before or after the De clipper The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the entire Undo chain The Undo Post menu lets you listen to the audio of the Undo section or to each individual Undo band after it has been processed by Undo but before it enters the main audio processing core The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched Input The Physical Inputs menu allows you to monitor any of the rear panel input points including Main Digital AES Reference Aux Digital and Analog The Sidechains menu allows you to monitor the audio passing through the Input AGC Wideband AGC 1 Wideband AGC 2 and Wideband AGC 3 sidechains as well as the actual output audio from each of tho
197. taves in one tenth octave increments Lower values provide a narrower sharper boost or cut while higher values provide a wider gentler boost or cut 47 Chapter 9 FM Menu Processing for FM e 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 e Note You can see a visual representation of the sidechain EQ curve in a display window using Omnia 9 s built in RTA by navigating to FM gt Processing gt Display Settings and choosing the Sidechain gt AGC Sidechain option A full explanation of Display Settings is provided later in this chapter Wideband AGC Menu The Wideband AGC1 menu provides access to the sidechain delay maximum gain maximum gain reduction ratio attack release progressive release target gate threshold freeze threshold and three band sidechain parametric equalizer controls Processing Wideband AGC i Atad 71 Max GJR Release 58 Gate Thr 30 20 00 dB Ratio 6 3 1 Prog Rel 84 The Wideband AGC1 Enable button enables this section which follows the Input AGC section and provides additional wideband compression as determined by its various controls Disabling the Wideband AGC1 also makes this patch point unavailable in an oscilloscope or RTA display window The Bypass button removes the Wideband AGC1 compressor from
198. te one preset to nothing but the Undo and Processing Meters to display these parameters in greater detail Or you could devote an entire preset to the oscilloscope and monitor the program input the output of Undo the MPX before the clipper and the MPX output to see what the various stages within Omnia 9 are doing to the audio signal The combinations are endless and yours to customize to suit your particular needs and preferences Undo Meters Menu The Undo Meters button allows you to display the activity of the entire Undo section Which specific Undo meters are displayed within this window is determined by settings in the Undo Metering portion of the main Undo menu which is located in Omnia 9 s Input section A full explanation of the Undo meters is given in the section dedicated to using Undo Undo Input 1 Aggressive Unprocessing 12 g 36 ee ed Multiband Exp Input Decl Processing Display Settings Display 1 Proc Delay 0 ms Meters Meters Display 2 Input Loud Meters Meters Display 3 Mod Mod Mtrs Num Display 4 Scope RTA Display 5 Display 6 FFT ojij e The Delay control which is also present in and coupled to the Processing Meters Oscilloscope RTA and FFT Spectrum Analyzer menus lets you synchronize Omnia 9 s meters with the audio to which you are listening For example if you are listening to a stream with a 10 second delay it would be impossible to properly adjust the processing if tha
199. tent images remain on the screen A setting of O provides no image delay at all and offers the greatest amount of visual detail for the current information on the scope Higher settings allow images of signal that has already passed through the scope to remain on the screen for progressively longer periods of time Setting this control all the way to the right keeps the image from fading at all useful for catching peaks e The Gain control adjusts the Y scale of the oscilloscope and moves the grid relative to the signal e The Lines control adjusts the offset of the reference lines as measured in dB e The Zoom control allows you to choose between a 1x 2x and 4x view of the X scale similar to setting the sweep time of a traditional oscilloscope e The I O Input Output Menu allows you to view the audio signal at various points of the Program Input MPX Output L R Output MPX Input 1 MPX Input 2 and Pre emph Input paths From the Program Input patch point you can view the left or right input audio signal e From the MPX Output patch point you can view the Multiplex left de modulated right de modulated left de emphasized or right de emphasized audio signal as well as the pilot tone obtained through a brick wall phase linear band pass filter from 18 950 19 050Hz and the MPX signal minus SCA carriers obtained through a brick wall phase linear low pass filter at 54 000HZ e From the L R Output patch points you can view the o
200. the specific needs of a large European broadcast group who not only wanted large quantities of bass but plenty of bass punch and minimal distortion as well When processing for all out loudness there s little or no room left for bass Heavy bass clipping makes some room but at the expense of punch Plutonium FM solves this dilemma by employing the WB AGC2 compressor in the Bass Only mode and incorporating the Transient Enhance feature If your needs call for lots of bass and dial domination Plutonium FM delivers Plutonium HD by Leif Claesson With the exception of Northridge all other factory presets have their HD only parameters such as the final limiter and output mix controls tuned in such a way that choosing the same preset for FM and HD allows for a very close on air sonic match when receivers switch between the analog and digital signal Because of the way in which Plutonium FM utilizes a higher than normal degree of composite processing the result was an on air sound that was too heavy on the highs for HD Therefore we recommend stations using Plutonium FM on the analog side use Plutonium HD for the HD path 158 Chapter 20 Factory Presets Point Blank by LeeXS Slightly more dense and loud than Jill FM Point Blank is a 7 band preset that leans more on the multi band limiters than the final clipper to build loudness Bright but always clean and well balanced th
201. tiband expansion in either the left or right channel 63 Chapter 9 FM Menu Processing for FM e 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 The Miscellaneous patch points allows you to view the audio signal from various other points in the signal path including after input filtering after the multiband section after the bass clipper after input loudness matching as an MPX signal with noise injection and at the program passthrough point e From the MPX Decoded menu you can view the decoded left or right channel of the MPX output of Omnia 9 as well as devices connected to the MPX1 and MPX2 inputs The Physical Inputs menu displays the levels of the actual rear panel inputs including Main Digital AES Reference Aux Digital and Analog These patch points are most useful when using the NfRemote client over the internet as their original un decoded counterparts may be not be available in the remotely due to insufficient network bandwidth e The Sidechain SC menu allows you to display left and right channel audio signals from both the sidechains and output sections of the Input AGC Wideband AGC1 Wideband AGC2 and Wideband AGC3 compressors e From the Multiband Solo menu audio from any one of the bands in the multiband compressor can be displayed The number of available bands is determined by the number of bands employed in
202. tilizes a modest amount of slow multi oband gain riding and minimal final clipping It has a much wider gain range than corresponding presets in most other processors yielding excellent consistency and listenability at lower volumes such as an office setting or in noisy environments in cars This preset works equally well with classical and jazz programming Echoes by Jim Kuzman This preset was created with openness and dynamics in mind but despite its mission remains competitively loud on average Very slow multiband attack and release rates high multiband AGC target settings and higher than normal Gate and Freeze thresholds prevent soft passages from increasing too much and allow short term dynamics to pass through with plenty of punch This makes it a good choice for stations who play World or New Age music or for any format where long term listening is a priority Empire State of Processing by Leif Claesson Built to answer the question How loud can a 3 band preset be Empire State of Processing relies more on the final clipper to deliver competitive loudness while employing slow attack and release rates and low ratios in the multi band section for a more open feel Vocals are warm and full balanced by a crisp high end Eruption 2 0 by Leif Claesson and Johnny Lundholm Deep always present bass compliments of fast attack and release rates in the lowest band and a touch of intentional wideband breathing make t
203. tings take effect immediately or when you manually reconnect Vorbis Encoder Menu The Vorbis encoder menu allows you to enable or disable the stream adjust its output gain enter the stream s title and Ogg Metadata and select the channel mode sample rate and quality mode 106 Chapter 16 Streaming Processing amp Encoding Menu streaming 1 streams Vorbis Encoder 4 Stream Title Omnia 9 Channel Mode Stereo Gain 0 0 dB Enable Sample Rate 44 1 kHz Quality Mode VBR 5 wv Ogg Metadata TITLE lt title gt Stream Disabled The Title field allows you to enter the stream title displayed to listeners and on public listings such as shoutcast com The Enable control enables or disables the stream When enabled the encoder will continually try to connect to the specified server The Channel Mode menu provides a choice between Mono and Stereo The Sample Rate menu will either maintain Omnia 9 s sample rate of 44 1kHz or 48kHz depending on the sample rate setting in the encoder or result in a high quality re sample to 8 11 025 16 22 05 24 32 or 44 1kHz The Quality Mode menu allows you to choose from a range of settings between VBR 2 and VBR 9 The Vorbis codec is by nature a variable bit rate encoder but for reference we have included an approximate average bit rate for quality modes lower than VBR 4 The Gain control determines the final output level into the encoder Vorbis Server Menu The Vorbis Server me
204. to help you achieve that goal Reduce the Clipper Drive FM core or Final Limiter Drive HD and Streaming cores in 0 25dB steps until you reach the point where the quality no longer dramatically improves but you re losing 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 e Reduce the level of the Band Mix section especially if you have increased the output of one or two particular bands to achieve a particular sound e Raise the threshold of the Multiband Limiters to keep the audio from hitting the limiters as hard or as often You may need to lower the Band Mix level to keep from driving the final clipper too hard when making this adjustment Lower the targets of the Multiband AGC compressors 151 Chapter 19 Getting the Sound You Want e Use slower attack and release speeds in the Input AGC Wideband AGC and Multiband AGC sections Use looser ratios in the Input AGC Wideband AGC and Multiband AGC sections Achieving Loudness If loudness is an important processing goal and you are willing to accept more processing artifacts and give up some quality here are some suggestions Use tighter ratios in the Input AGC Wideband AGC and Multiband AGC sections e Use faster attack and release speeds in the Input AGC Wideband AGC and Multiband AGC sections Raise the target of the Multiband AGC comp
205. to subsequent processing stages Higher settings result in faster attack speeds and allow less unprocessed audio to enter subsequent sections Because all of Omnia 9 s processing stages are to some extent program dependent putting actual measures of time on these controls would be pointless and so the numbers on the various Attack and Release controls throughout are simply relative numbers The Release control determines the speed with which the Input AGC increases audio below threshold Lower settings provide slower release speeds while higher settings result in faster release speeds The Target control sets the target output level of the Input AGC A lower setting results in a lower output level while higher settings provide a higher output level This is similar to a traditional threshold control when the levels are below the target The Gate Threshold and Freeze Threshold controls work together to determine the points at which the release rate of the Inout AGC slows by a factor of 3 gate threshold or freezes altogether freeze threshold The range of these controls is 90dB to OdB Lower settings means the audio must drop to a lower level before the release speed slows or freezes Higher settings means the 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 increased too quickly or too much during
206. tons allow you to play the next or last song respectively The Mode Selector has several options for file playback File simply plays one cut until it is over and then stops Folder plays the entire contents of the folder and stops Repeat File and Repeat Folder allow you to repeat either a single cut or an individual folder respectively 28 Chapter 8 Input Undo Menu Chapter 8 Inputs 1 2 3 Undo Menu Confucius said that when faced with what is right leaving it undone shows a lack of courage Call us brave Chapter 8 Input Undo Menu Undo Menu Inputs 1 2 3 What Exactly Is Undo In order to understand how to best use Undo it is helpful to understand exactly what it is and how it works Undo is actually two separate processes a de clipper and a multiband expander which work together o undo the poorly mastered hyper compressed and clipped audio found on so many modern CD s e 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 clipping the STL at the studio is a concern simply turn down the input level to the STL and use Omnia 9 s Input Gain control to compensate Omnia 9 will also happily boost low input levels automatically Take a look at the two waveforms below
207. ubsonic sweeps that allow you to see the extreme low frequency response of your air chain e 30HZ is a 30Hz sine wave Certain exciters will go into protection mode if fed a full modulation sine wave this low in frequency so please be careful e 30 Hz Phase Invert produces a 30 Hz sine wave which abruptly changes phase twice per second This test tone allows you to verify DC coupling of Omnia 9 s composite output with an external oscilloscope as well as your exciter and your modulation monitor Many exciters and even more modulation monitors have inaccurate low frequency response which will Cause severe over modulation or erroneously display severe over modulation if the low frequencies abruptly change such as is customary in music that contains kick drums which most songs do 132 Chapter 18 System Menu Bessel Null 31 187 6Hz allows you to set exact 75kHz modulation with a direct off air spectrum analyzer Omnia 9 provides extremely tight modulation control Your modulation monitor s meter should essentially stand still at 75kKHz The composite meter in Omnia 9 will stand still at 75KHZ no matter what any external equipment is doing If it does not lack of DC coupling is a likely culprit To test for this follow these steps e Connect an Oscilloscope making sure it is DC coupled not AC coupled to Omnia 9 s composite output e Select 400 Hz Adjust the oscilloscope input level to accurately reach a particular set o
208. upled B4 AGC Attack 41 B4 AGC Release 45 BS AGC Attack 40 BS AGC Release 40 B6 AGC Attack 39 B6 AGC Release 39 B7 AGC Attack 44 B AGC Release 38 The Attack speed and Release speed controls work in the same manner as their counterparts in the other sections of the Omnia 9 However the behavior of the multiband AGC compressors is also program dependent The Attack coupled control allows you to adjust the attack speed of all of the bands simultaneously by an equal amount The Release coupled control allows you to adjust the release speed of all the bands simultaneously by and equal amount The Speed coupled control allows you to adjust both the Attack speed and Release speed of all the bands simultaneously by an equal amount The Peak Sense Coupled control simultaneously adjusts the attack and release rates but in opposition to one another Sliding the control to the right increases the attack rate and slows the release rate making it more peak sensitive Sliding the control to the left decreases the attack rate and speeds up the release rate making it less peak sensitive The attack and release speeds of the multiband limiters are program dependent and not adjustable Multiband Thresholds Menu The Multiband Thresholds menu allows you to set the target for each of the Multiband AGC bands as well as the threshold for each band of the Multiband Limiters The total number of bands available in the 52
209. utput levels of external gear feeding Omnia 9 s MPX1 and MPX 2 inputs Loudness Meters Pam In LIR Out Processing Proc Meters Loud Meters Mod Num RTA Display Settings Display 1 Display 2 Display 3 Display 4 Display 5 Display 6 Undo Meters Input Meters Mod Mtrs Scope FFT Processing Proc Delay 0 ms Meters Loud Meters Mod Num RTA Display Settings 4 Chapter 9 FM Menu Processing for FM Modulation Meters Menu The Modulation Meters menu displays the modulation levels of the MPX output of Omnia 9 as well as any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a bar graph FM Speaker Val Location SysLocation 26 0 dB Processing Display Settings Display 1 Undo Proc Delay 0 ms Meters Meters Display 2 Input Loud Meters Meters Display 3 Mod Mod Mtrs Num Display 4 Scope RTA Display 5 Display 6 FFT Modulation Numeric Menu The Modulation Numeric menu indicates the modulation levels of the MPX output of Omnia 9 as well as any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a numeric value relative to a 100 scale The percentage of modulation occupied by the pilot and the L R Demod level is also displayed 61 Chapter 9 FM Menu Processing for FM Ff Modulation Mumeric Source L R De mod 128 142 91 91 Power Modulation L R Output Display Settings 4 Processing D
210. v Apply Config MPX Power Control ITU R BS 412 Compliance EEE HD Cores 0 h d RDS Encoder Streaming Cores 0 Pre emph Input Aux Monitor Output The FM pull down menu allows you to enable a processing core for the FM MPX composite output L R output or both The MPX Power Control control allows Omnia 9 to operate in compliance with ITU R BS 412 regulations The HD Cores menu lets you choose how many HD processing cores are available The Streaming Cores menu allows you to choose how many streaming processing cores are available e The Studio Core menu enables or disables the dedicated studio core an independent low latency path especially suited for talent monitoring 141 Chapter 18 System Menu e The Aux Monitor Output is a third speaker controller similar to the Speaker and Headphone Outputs which can be used to route audio to another studio or area of the station Because it is fully routable and can provide audio from many different patch points within Omnia 9 you can also use it to feed audio to another processor e The Pre emph Input control is similar to the MPX inputs but is provided when the L R output either flat or pre emphasized of another audio processor is fed into Omnia 9 e Note This input can receive audio from any of Omnia 9 s three digital inputs only not the analog input as the analog input is not DC coupled Streaming Encoders Menu The Streaming Encoders menu allows you to
211. xplanation of the various menus found in the FM processing core is presented here 41 Chapter 9 FM Menu Processing for FM The FM Processing menu provides access to all sections of the main FM processing core From this menu you can load and save presets enable and configure Preset Protection and adjust phase related processing such as the Phase Scrambler Phase Rotator and Bass EFX circuit This is also where you can adjust audio parameters including the Downward Expanders Input AGC Wideband AGCs Parametric Equalizer Multiband Stereo Enhancer Multiband AGC and Limiters Band Mix Dry Voice Detector and Clipper PFOGESSING Load Preset Save Preset Preset Protection Phase Processing Downward Input AGC Wideband AGC 1 a oen Stereo Enhancer Expanders Equalizer Multiband Setup es MB Thresholds al tots MB Release Detachor Wideband AGC 2 Wideband AGC 3 Band Mix Clipper Bypass Display Settings The Load Preset menu allows you view the preset currently on the air toggle back and forth between the current and backup presets load a new preset compare the settings of two presets and delete user presets Processing Load Preset Current Preset Rustonium Plutonium HD Point Blank Recall Backup Upsidaisium Quintessence Radium Load Rustonium Reference Settings Diff Preset Delete Preset Highlighting a preset from the list places it in the Load button Selecting the Load button puts that preset on the
212. y The Target Range adjusts the height of the target window within a 6dB range in half decibel increments Lower settings are better suited to more precise measurements Moving the Target Range slider all the way to the left hides the target window Below is an example of how to use the RTA menu To see a visual representation of a parametric EQ PEQ setting Display the MB DRC Solo menu and select PEQ Preview Set Resolution to 1 6 octave Set Averages to 100 to freeze the display Parametric EW Preview Mono Audio T MT i f i j r Fel i f i E oe li l li f EE i EEI PF F F F f a g Pp md i F creer r r r F i f i f i _ i i j F a ae EE q i 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 bands relate to a dynamic section of the processing core lowering the Averages slider will yield more of a real time view FFT Spectrum Analyzer Menu The FFT menu allows you to monitor the same sources as those mentioned in the Oscilloscope menu section 66 Chapter 9 FM Menu Processing for FM PRON MPR Home Processing Display Settings E e e OOOO oe Meters Meters a x w ipii Left l Undo E Display 2 Input L
213. y unique to the MPX clipper RDS and Auto Pilot also become unavailable though the L R clipper does employ psychoacoustic distortion masking From the Home menu go to System then I O Options then Source Adjustment Use the Input Gain sliders to set the input levels When driving the input with typical program material at normal operating levels adjust the Input Gain while watching the Input meters in the Processing display window so that average levels keep the meters in the green If the meters flash red the input is being overdriven and levels to the Omnia 9 must be reduced If necessary it is also possible to invert the polarity of either or both channels with the Invert control The Mode control allows several different channel configuration options Return to the Home Menu select FM select Processing then select Load Preset to choose one of the factory presets Rustonium is the default preset and provides a well balanced sound with competitive loudness suitable for nearly any format However we suggest you audition all of the factory presets to get a feel for each of them e Note Omnia 9 contains a relay bypass feature that allows unprocessed audio to pass directly through the unit to prevent complete loss of audio dead air any time the software is not active This includes when the unit loses power is in the start up process or must re initialize its software after applying certain user initiated configuration changes Normal

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