Home

Omnia 11 Manual - Broadcast Bionics

Contents

1. cccccsssseseeeeeeeeeeeeeeeeeseeesaeseeeeeeseeees 4 SCAINPUFIBNC sarei iaana 4 SCA IN LVL SCA Input Level trimpot adjustment eeeeccecceeeeceeeeeeeeeeeeeeaeees 4 AES EBU Digital Input Outputs amp AES EBU External Sync Input 5 Ptheme7 Livewire onmecu Ons itt 6 ay a E aida adeiot ed ayreeae 5 RS 232 Senal Pore DB 9N Conneceions ansia 6 General Purpose Interface GPI DB 15P uiii ira 6 0 E 811 WD PORRE ae E A RR 7 Chapter 2 Getting To Know Your Omnia 11 csvrrrrrrrreseseescerececeseseseseseerececeseseseseseeececeseseneno 9 The Ommia LI User Interiacessaiclaaiaiaana 9 Headphone LevelkControl s rasi idolo 9 Icon buttons Metering Area and Menu Area 10 User Inte ace Overview arenen deat en a ee eee ets 10 User Interface Tutorial Input Source Selection and Peak Input Level Setting 11 Proper setine Of TnpuUtEeve Sar asori O E A 12 Processing Activity Metering Gain Reduction Meters 13 Chapter 3 Setting Up for Your System sssccscccccssssssssssssccccccccssssscsscccccscccsssssssssccsssseeees 15 Scop Mode ssaii laccata 15 Network Parameter Setupisici iii 15 Livewire IRR ROERO RETTO 17 System Separata 18 Input Output Configuration and Metering cccccccccsssssssssscccccsssssssssssccccsccsssssssssccsosses 19 InputConisurafion i aaa aaa 19 loput GO I IRR SS E 20 UCI AR
2. Of note here is that the Java remote screen looks exactly like the front panel of the unit and works similarly with some exceptions and additions except for the lack of a touch screen interface 67 Instead the mouse is used to select buttons and controls and the Up amp Down arrows on your computer s keyboard are used to adjust controls The mouse wheel on mice so equipped can also be used to adjust the controls To select a control to adjust first click on the desired Icon Button at the top of the screen and then click on a desired Tab or button if needed and finally on an adjustment control It will then highlight in a brighter orange color indicating it is ready for adjustment with either the mouse wheel or arrow keys Please note that on smaller monitors or laptops you may not be able to see the entire screen at once If that is the case scroll bars will appear to the right and at the bottom of the screen This is normal Virtually everything you can do from the front panel you can also do with the remote except for Network setup and the Backlight amp Calibrate controls in the System setup menu that are specific to the front panel s touch screen Your computer s keyboard can be used to enter text whenever the on screen keyboard pops up File Transfer The File Transfer menu allows you to save and load User Presets and I O Configurations to and from your computer From the top menu in the Remote screen click File
3. Omnia 11 Stereo FM Audio Processor Installation and Operation Manual July 2011 Applicable to Software Version 1 03r300 and Higher A Telos Company Omnia 1241 Superior Avenue East Cleveland Ohio 44114 USA TEL 1 216 241 7225 e FAX 1 216 241 4103 www omniaaudio com President s Note Welcome to Omnia 11 Cleveland Ohio September 2010 If you love Rock and Roll there s a good chance you ll understand the following scenario Consider how daunting it must have been for the Beatles to follow up Sgt Pepper or what the next concept was in Pete Townshend s mind after the worldwide acclaim of Tommy Personally I always wonder how Bruce Springsteen contemplates his next project after the completion of many of his masterpieces Well processing gang seems I now understand the predicament Your overwhelming acceptance of Omnia processors parallels the above scenarios for all of those artists OK so maybe there won t be a processing rock opera but the popularity of Omnia as made by you has put it in rock star status among broadcastings elite Humbly I wish to thank each and every one of you for your dedication and support Now Omnia embarks upon the next phase or tour of this wonderful journey You know Mr Springsteen said it perfectly One day we ll look back on this and it will all seem funny He s right as I look back on all this it s been and remains an amazing ride Now it s time fo
4. These are touch screen buttons that are always present and allow you to switch between the various metering menu screens below them Some of the icon buttons conveniently contain mini sized working meters that represent their full sized metering area countertypes Below the icon buttons are the Metering Area to the left and the Menu Area to the right The metering area contains full sized versions of the meters in the icon buttons and the menu area contains the controls used for adjustment In the default Input screen the two horizontal bargraph meters show digital sample accurate peak representations of the left and right channel input levels for both the primary and secondary inputs The Primary Input meter corresponds to the input selected with the Input Source control in the menu area and the Secondary Input meter corresponds to the Failover Source NOTE The Input Failover feature is not yet available with the current software It will be made available to you in a free future software update Let s go over setting your primary Input Source and adjusting the Input Level for that source now We will begin with an overview of the user interface User Interface Overview At the top of both the Metering Area and the Menu Area are Tabs that organize the meters and controls into smaller groups Touch the tab for the desired group to bring up the meters and controls for that group Additionally sub groups of controls in a tab if any are indicat
5. in the band The 2 drop down controls in the Advanced tab allow you to modify the crossover frequency points of the MH ML to MH and LO LO to ML AGC bands The MH to HI and HI to SH crossover points are not adjustable The available MH crossover settings are 3 2 kHz and 2 5 kHz The available LO crossover settings are 190 Hz or 150 Hz AGC Metering Summary Tab Summary Detail Analysis The 5 gain reduction meters show AGC activity from the top down in dB and the AGC crossover frequencies in use are shown just above the gain reduction meters Gating is indicated by bright yellow outlines around the blue gain reduction meters Crossover Frequencies 5 Band AGC Gain Reduction Meters AGC Metering Screen Summary Tab AGC Basic Tab There are 6 variable controls here and 5 of them are global That is they affect all 5 bands of the AGC simultaneously and equally There are also 2 buttons to access the controls for the low latency DJ monitor feature The first global control is an overall Drive control dic diri ssi It sets the input level to the AGC section allowing Attack Offset you to adjust the amount of gain reduction in the entire 5 Band AGC section at once Increase this Cate Master Release DIA control for more compression and dynamic EQ effect Sync Detail Master Next are overall controls for Gate Threshold Attack Time Release Time and Detail Enhancement These are described in detail below Thes
6. Detailed information about the Omnia s boot up progress may be observed at this diagnostics RS 232 port as well as any error messages that may be encountered This chapter explains the various boot up and error messages that may be encountered while troubleshooting the unit We ll cover some basic troubleshooting techniques for isolating possible Omnia 11 problems in the field and also how to obtain help or repair service from Omnia To take complete advantage of this functionality you only need a standard terminal program for DOS Windows or other operating system It must be configured for a default baud rate of 19200 no hardware handshaking At Omnia we commonly use the Hyperterminal program that ships with some versions of Microsoft Windows but you can use whatever program you are familiar with Please see the example below for how we ve set up our connection COHI Properties El Ei Bits per second Data bits le Parity None Stop bits i Flow control None Restore Defaults Once these parameters have been entered and saved as a connection profile they can be used to capture and display and print the output of the Omnia 11 s RS 232 serial port during boot up 59 Electrical and mechanical safety note When the Omnia is operated with its chassis top cover removed you are exposed to potentially lethal voltages Before attempting to make voltage measurements be forewarned that the power su
7. number of bands or the latest whimsical features we see offered by others In Malcom Gladwell s book Outliers he details numerous stories about how various people reached their level of success The short form answer is that it takes close to 10 000 hours of work or practice to reach this lofty goal Pretty insightful stuff I have no doubt that my algorithmic running mates Rob Dye and Cornelius Gould have long surpassed this milestone Their efforts input and insight to the algorithms in Omnia 11 are worth a book unto themselves Ask Corny about the multitude of hours we spent in our development lab going over algorithm performance and breaking down the barriers to achieve increased performance in what is today Omnia 11 Hopefully by now you can draw your own conclusion as to which company has not only become the world s leading broadcast processing developer but also whom all others look to clone We chuckle when our tech concepts show up in product descriptions of other companies In closing I want to Thank You once again for your support in us As you get rolling with Omnia 11 please know we are there 24 7 should you need assistance As always we d love to know your feedback so please feel free to share As a friend in the live steam hobby told me about his business If you like the product tell others If you don t then tell me Rock on Frank Foti President Omnia Audio 11 Omnia 11 Quick Start Setup Guide We know that yo
8. of limiter activity from the top down in dB and the crossover frequencies in use are shown just above the meters Likewise gating activity is indicated by a bright yellow outline around each gain reduction meter Limiters Basic Tab There are 4 variable controls in the Limiters menu area and all of them are global That is they affect all 6 limiter bands simultaneously and equally Wizard Advanced The first global control is an overall Drive control that allows you to adjust the amount of gain reduction in the entire 6 Band Limiter section at once This is conveniently just like changing the value of each control in the limiters crossover XO by the same amount Attack Offset Release Offset Next are Attack Time Offset Release Time Offset a and Gate Threshold Offset controls These can adjust all 6 bands simultaneously relative to the individual control settings in the Advanced tab Descriptions of the Attack Release and Gate functions are described in detail in the Advanced tab section below Limiters Menu Basic Tab Limiters Advanced Tab Preset Wizard Basic Advanced Sub Group controls for each AGC band become u RT available in the Advanced tab LO Attack ML Release MH HI SH Limiters Menu Advanced Tab Lim Thresh Limiter Threshold This adjusts the threshold where audio peak limiting occurs over a or 6dB range for each band Lower settings will increase the amount of li
9. on i ie So A Analog Audio Inputs and Outputs COMP 19kHe OUT Pot Li A This Company 1241 SUPERIOR AVENIJE CLEVELAND CHID H TH aha SoTL See La CO a C 10 100 ASA RE 232 AUX GPIO INTERFACE 120 240 VAC 1 0A 0 5A 50 60 Hz RS 232 DIAG Balanced XLR type connectors are provided in the lower left section of the rear panel for the analog audio Both analog and digital input sources may be connected simultaneously however only the input source that has been selected in the menu will be active Analog Digital Livewire input source selection is done through the Input Sre Input Source software parameter setting in the Input menu All outputs are active simultaneously The stereo analog inputs are designed for standard 4dBu balanced signals Pin 2 is Hot Individual Left and Right analog outputs are available on two male XLR jacks Pin 2 is Hot OUTPUTS RIGHT IT A Note about Relative Phase If the relative phase of your installation including the Omnia 11 differs from that of your existing system your announcers may feel that they sound weird in their headphones If this occurs then the relative phase of the processor is 180 degrees from what your air talent is used to To remedy this you can either reverse the polarity of both of the analog inputs or simply change the Invert setting to Both in the Input menu Stereo Generator Connections Four standard female BN
10. 2 Advanced IC free EER 45 Limiters Metering dia bre 45 Limiters ww Brio be i 46 Limiters MA LE IRR ERETTA 46 Limiters Mixer Boelbeiase nia 48 VI FM Final Limiter Chipper Basic Tab sssissscsiscccctsancsicennnesndaswadavsesinacetianbdeitenseusedeownveds 48 FM Final Limiter Clipper Advanced Tab iii 49 PAIChanieCIPPSEMCGniie al 50 bacci 50 HOP aa Te ee ce soacuesaeeesesseasanevaayinovesnueeccbeseesereseasanssaaiiaoseaeesseoesenseeaes 50 A HD Channel Limiters Mixer boo 50 HDR Ici oriali SI HD Channel Bass Enhancer Basic Tab SI PD tiga ETERNI IS CASI REBECCA RR EA 32 SCM SUS OBS e AD e E E E 52 What is SENSUS E acces carypachinatnte rrini ni rren Ae a E EAE EEEE A 53 Appendix A Performance Specifications cccccccsssssscscscccccccccsssssssssssssssssssssccccccsssssees 55 Appendix B Troubleshooting Service Warranty ccccccsscccccssssssssssssssssssssssssssssscccccssssseees 59 Electrical and mechanical Safety notel ccccssssscccccssssccccccssssssscccccssssscccccccsssssccccsssscees 60 IEOUDICSA GORE ERA 60 OLO TITTI SOT V1 CO PRA CORRE RR ERRE 62 Xote Vibra 62 Elaine 62 MOD ble 62 WA 63 Appendix C Remote Control and Software Update Procedure ccsssssssssccccceseeseees 65 RemofteContiol ia Gaia 65 Rel vanes ss ce oan nc sone pen ee ses ance anne au overs E E eneecrsh weavers eens 67 FIRE Ce RA 68 LIE O ER A AE 68
11. Omnia 11 Quick Start Setup is now complete Please read the rest of the User Manual to learn about some of the features that make the Omnia 11 unique for additional details on proper installation and for full details on the operation and adjustment of every control function 1V Table of Contents President s Note Welcome to Omnia ED siisscccccscscssseccnionssdansdesccesnateccesescadensansasantenssecnusanenss i Omnia 11 Quick Start Setup Guide ccccccosssssssosssccccccrsesccvsssssessecssessvovsvesccccoosccccssssccnsecesssssooess iii Front Panel User Interface Overview cccccccccssssssssssssscssssssssssccccccccccsssccscsssssssssssssssscees jii Table0EContenS al lla Vv SAFETY INSTRUCT PO NS ai viii HAZARD WARNING LABELS ail ix Manal Update NOtiTCAat0Ni cuscini REAR xi Chapter Installation e E 1 PEGI NS Callao ASKS ys13 ssassscacensactiesassdsncestaatecvassasescunsetdeseesasdcestasteavansasaccunaendeswmsastcesteassavesss 1 A out This Mandala gialla 1 Omnia TE Components naar 1 AC ROWeFENvironment piani 1 Installation QW Connec hons sss siriani lira aa n aa aaaea aeaa otai 2 Rack Nounins lt Groundn gt allea 2 AC MIMS FOWE TE T ES 2 R ear Panel Connectionsas lai 3 Analog Agdio INput and Oupilssa nale 3 A NoteabourRelanve Phaser iii 3 Stereo Generator Conicon suina iaia 4 COMP 1 amp COMP 2 Composite Outputs 1 amp 2 BNC cceseeseececceeeeeaaeeeees 4 19 KHz OUT Pilot Sync Output BNC
12. Omniz11 0 93 1 Subnet 255 255 255 0 EE Backlight 5 mins Gateway 192 168 2 2 Network LiveStream Mone LW Out 1 25801 LiveStream emery LWOut2 25802 APPLY Input to Omnia 11 Name e ese Inputs From Source ay u Here you can select Livewire channels and name the available Livewire inputs and outputs There are 2 stereo Livewire output channels and 2 stereo Livewire input channels available Entries are changed as in the Network setup screen by touching the white box to bring up the on screen keyboard Be sure to touch the Apply button after making your changes or they will not take effect For more information on Livewire please consult the documentation that came with your Axia or other Livewire gear If you do not have a Livewire system and need to use the network interface for remote control make sure that the 2 Livewire output channels are disabled If the 2 Enable squares are green touch them to make the squares white and the Livewire outputs will be disabled When finished touch the ADJ icon button to return to the main metering menu interface 17 System Setup Touch the System icon button to bring up the System setup screen 192 168 2 199 None CGSmooth AES EBU Livewire Outputs LW Out 1 258 Enabled IP Addres 168 2 ress 192 168 2 199 LW Out 2 258 Enabled Subnet 255 255 255 0 Livewire Inputs Gateway 192 168 2 2 Input3 1 Input4 2 Network LiveWire Touct sc
13. Tab NOTE If you are turning up the Clip Drive to increase loudness and you reach a point where the loudness and distortion do not seem to be increasing as you would expect you have likely run into the Auto Sense ceiling You can navigate to the Advanced Tab and turn down the Auto Sense control a little This will allow more clipping to take place For more information about clipper Auto Sense please see Page 47 Comp Clip Drive Basic Tab This controls the drive to the DSP based composite clipper in the Stereo Generator in dB A setting of 0 0dB is the same as the clipper being off This clipper operates on the entire baseband signal up to 53 kHz except for the 19 kHz pilot No matter how hard you drive the composite clipper you cannot clip the stereo pilot Embedded within the composite clipper is a newly designed phase linear low pass filter for superb SCA protection This filter removes clipping harmonics and prevents them from affecting the SCA and RDS region Please use the composite clipper sparingly We suggest no more than about 0 5dB and you may find that none is needed at all with the Omnia 11 31 32 Chapter 5 Detailed Processing Adjustment In this chapter we provide a detailed list of all of the available user controls that can be used to tailor one of the factory presets into a custom use preset for your signature sound Generally the controls are set up so that increasing any setting will lead to more aggr
14. Transfer or from the Main Menu click the User file transfer option Preset File Transfer Shown below is the top half of the File Transfer screen which is used for saving and loading user processing presets to and from your computer Download Presets Click on the preset name to download it from the audio processor to your computer User Presets Upload Presets To upload a preset from your computer to the audio processor 1 Use the file entry box for the browse button to give the name of a file on your computer that contains the preset to be uploaded 2 Press the upload button ui 3 The preset will be saved on the processor with the same name as the selected file without the extension _ kM LI lt _ Browse MM unload Any user presets on the Omnia 11 will show up as buttons under User Presets in the Download Presets section 2 user presets are shown in the example screenshot above NOTE The factory presets will not show up here and cannot be downloaded to your computer To download and save a user preset to your computer simply click on a preset name and your browsers File Download box should pop up Click the Save button choose the desired folder to save the preset in from the Save As dialog this may vary with the OS and click Save to save the file or Cancel to abort 68 Presets are saved as small text based files with the opr extension To upload
15. a previously saved user preset to the Omnia 11 use the file entry box or the browse button to enter the path to the preset file name to be uploaded and press the Upload button The preset will be saved to the Omnia 11 with the same name as the selected file minus the opr extension Note that uploaded presets will be placed in the Omnia 11 s preset list but will not go directly on the air I O Configuration File Transfer Similarly I O configurations can be saved to or loaded from your computer Shown below is the bottom half of the File Transfer screen which is used for saving and loading I O configurations to and from your computer Download IO Configurations Click on the configuration name to download it from the audio processor to your computer User 10 Configurations Upload IO Configuration To Upload a io configuration from your computer to the audio processar 1 Use the file entry box for the browse button to give the name of a file on your computer that contains the configuration to be uploaded 2 Press the upload button CALI 3 The configuration will be saved on the processor with the same name as the selected file without the estensioni 1 vb _ 21 Browse MM unload I O Configuration download and upload operations work similarly to the Preset download and upload operations described above with the exception that the filename extension for I O configurations is o1c Software Update Pro
16. can be locked to an external AES EBU signal applied to the AES SYNC IN connector or to the AES EBU input signal These options are selectable using the Samp Rate Sample Rate setting in the Output menu Note The analog and digital outputs are active simultaneously Ethernet Livewire Connections NOTE Network functionality Setup is not available with the initial software It will be made available to you in a future software update The RJ 45 10BaseT 100BaseT Ethernet Livewire I O jack can be used simultaneously for both TCP IP based remote control of your Omnia 11 and audio input output to your existing Livewire network ae Ethernet 10BaseT 100BaseT Remote and Livewire I O lt gt 10 100 RS 232 Serial Port DB 9M Connections NOTE RS 232 serial port functionality Setup is not yet available with the current software It will be made available to you in a free future software update The DB9 male RS 232 AUX connector can be used to The DB9 Male RS 232 DIAG connector is for diagnostic use with a computer running a terminal program such as Windows Hyperterminal RS 232 Serial Ports RE 232 AUX The setup and operation of the Omnia s Remote p Control capability is covered in detail in A sa il Appendix C starting on Page GPIO INTERFACE Please note that the RS 232 functionality is not G INS i N fT yet implemented in the current software but will Ol eeecooe il O
17. com software White Papers amp Technical Discussions http omniaaudio com white papers Xi xii Chapter 1 Installation Pre Installation Tasks Please take a few minutes to read through this chapter before proceeding with the installation of your new Omnia 11 processor About This Manual The latest version of this manual is always available for download from the Omnia website here http omniaaudio com manuals Omnia 11 Components By now you ve unpacked the shipping carton to gain access to this manual Now is the time to inspect the Omnia 11 unit and its shipping carton for any signs of shipping damage Such damage must be reported to your carrier for any claims The Omnia 11 shipping box includes the following components Omnia 11 processor Omnia 11 Operating Manual Warranty Registration Card Please complete the form and return FAX it to Telos Omnia VV V WV Two IEC Power Cords one of the USA Canada style and one of the Euro style AC Power Environment The Omnia 11 subsystem is a DSP based microcomputer and therefore requires reasonably clean AC power just as any modern computer system does And even though the Omnia 11 power supply is equipped with robust AC transient suppression we recommend that an online style non switching type Uninterruptible Power Supply UPS with transient surge suppression be employed At transmitter sites there can be heavy transients on the power lines as well as
18. controls and 2 drop down controls located in the WB AGC Advanced tab menu area seas bth Dose nn Window At a setting of 0 0 the Wideband AGC acts like a regular AGC where the gain is always Window Makeup Gain i f either Increasing or decreasing RTP Level Filter Freq Lower settings turn the window function on and open up a zone within which the gain can rest and actually do nothing RTP Speed Ratio When the window setting is on the audio can drop by the dB value of the selected setting before the AGC reacts This can greatly help preserve natural program dynamics without compromising overall gain riding ability Try settings of 3 to 6dB to start WB AGC Menu Advanced Tab RTP Level RTP stands for Return to Platform What RTP does is return the gain of the AGC to the selected amount of gain reduction or platform level in the absence of audio This control adjusts the resting or platform gain reduction level the AGC will return to when audio pauses or stops while gated The primary purpose of RTP is to prevent the AGC gate from increasing the gain unnecessarily or holding the gain too low during pauses in audio which could result in an increase in noise level or unexpected sudden increase in level when the audio returns RTP Speed controls how fast the adjustment to the platform level set with the RTP Level control above takes place 1 e how long it takes the AGC to
19. for each band RTP Speed Detail Enh RTP Level RTP stands for Return to Platform What RTP does is return the gain of the AGC to the selected amount of gain reduction or platform level in the absence of audio This control adjusts the resting or platform gain reduction level the AGC will return to when audio pauses or stops while gated Makeup Gain Multi Band AGC Menu Advanced Tab The primary purpose of RTP is to prevent the AGC gate from increasing the gain unnecessarily or holding the gain too low during pauses in audio which could result in an increase in noise level or unexpected sudden increase in level when the audio returns RTP Speed controls how fast the adjustment to the platform level set with the RTP Level control above takes place 1 e how long it takes the AGC to move to the target RTP gain reduction level Range is from 0 slow to 11 fast Makeup Gain Sets the amount of gain to be filled in during quieter softer program passages The range 1s 0 0 off to 11 maximum This function is also program dependent and it interacts somewhat with the main Attack and Release time constants As the attack release times are modified the system also scales the Make Up Gain time constants Use less makeup gain for processing more faithful to the source material use more makeup gain for greater loudness and density a more compressed sound The Attack and Release contr
20. for program material that 1s naturally lacking in upper bass fullness Like the other bass enhance controls above this one is smart as well but be judicious about applying too much A little can give nice subtle warmth to voices and other program material that may otherwise sound too thin Air Enh Air Enhance This adds sheen to the highest audio frequencies the highest treble and harmonics of midrange material to provide a sense of Air to the program material especially older material without sounding screechy increasing compression effects or sounding smashed in any way Contrary to what you might think the effect is most noticeable on material such as vocals rather than on fundamental treble instruments like cymbals etc Stereo Enh Stereo Enhance This controls how much of the Omnia s built in stereo enhancement effect is applied The Omnia 11 contains an intelligent DSP based stereo enhancement tool that enhances the stereo sound field without causing unnatural hole in the middle imaging or exaggerated multipath Program audio previously lacking in stereo width will have noticeably increased ambiance and dimension when the Stereo Enh is active Vocals will stay up front and the sonic details of musical instruments will be heard with an apparent slight loudness increase The Stereo Enh control has a range of 0 0 OFF to 11 and the amount of dynamic width expansion can be observed on the rightmost ve
21. located on the back of each handle at the top toward you and fold the rack handles back to their normal position Connect AC power to the unit there is no power switch Connect the audio inputs that are appropriate for your installation The Omnia 11 accepts balanced professional line level analog audio or AES EBU digital audio on standard XLR connectors If you have an existing Livewire system the single Livewire Ethernet connection is all that is needed for audio I O except for the composite MPX outputs Touch the Input icon button near the top left of the screen to bring up the Input menu and metering If the Basic tab is not selected touch it to select it From the Input Source drop down select the Analog AES EBU or Livewire input as appropriate for your installation If your audio source is providing an audio feed you should then see meter activity on the bargraph meters While driving the inputs with typical program material at normal operating level adjust the appropriate Master Input Gain control until the peak reading input bargraph meters are peaking just into the yellow about 15 to 12 dBFS or so If the left right audio levels coming into the Omnia 11 are somewhat unbalanced you can adjust the Right Trim control to adjust the level of the right channel alone over a limited range Connect the outputs that are appropriate for your installation Touch the Output icon button at th
22. make the audio sound too compressed and lifeless losing too much of its natural dynamic character Release Release Time The release control adjusts how fast the limiters recover from periods of more gain reduction Faster release times higher numbers result in a more dense sound Setting the control for extremely fast release times can result in increased distortion or pumping Extremely slow release times can result in loss of loudness and frequency balance issues when the program levels drop Gate Gate Threshold When the input audio falls below a certain level the gain control action of the limiter stage is frozen by the gate The level at which this freeze or hold takes place is controlled by the setting of the Gate Threshold control Higher numbers cause the gate to activate at higher audio levels causing increased overall gating activity It is normal to see much less gating activity in the limiters unlike the AGCs since the limiters operate much faster and average levels are already controlled before reaching the limiter section You will see more limiter gating activity when hitting the limiters harder especially on dynamic material such as speech where they will help keep things sounding natural 47 E Limiters Mixer Basic Tab This is the final mixer that sums the 6 limiter bands and sends the peak limited audio to the final FM pre emphasis and limiter clipper stages Care should be used when adjusting this
23. output level controls referenced to the maximum output level of 0 dBFS Normally these meters will be peaking all the way up near OdBFS when the metered channel is active These can be used as a quick way to check that the HD output channel is active internally Detail Tab There are 5 stereo output meters and a composite meter in the Detail tab Summary Detail Analysis Analog AES EBU Livewire Composite Output Metering Screen Detail Tab The 5 stereo output meters show the real time peak level of the actual outputs after the output level controls in the Menu screen Analog Shows the actual peak output level of the Left and Right analog XLR output jacks referenced to a 0 peak level of 22 dBu AES EBU 1 Shows the actual peak output level of the AES 1 XLR output jack referenced to 0 dBFS 2 Shows the actual peak output level of the AES 2 XLR output jack referenced to 0 dBFS Livewire 1 Shows the actual peak output level of the Livewire 1 output referenced to 0 dBFS 2 Shows the actual peak output level of the Livewire 2 output referenced to 0 dBFS Composite Shows the relative peak output of the composite MPX signal from the built in stereo generator before the composite output level controls relative to 100 modulation Normally this meter will be peaking all the way up near 100 This can be used as a quick way to check that the stereo generator output channel is active internally Zi 28 Chapter 4 Introduction t
24. significant surges introduced into the power system by frequent lighting strikes These are unwelcome power line events and can damage even the most robust equipment Therefore you should give the AC power environment and installation practices thorough consideration before plugging in the Omnia 11 or any other microcomputer based equipment A White Paper by one of our Support Engineers can be found on the Telos Systems website at the URL listed below It details proper grounding and contains links to some surge suppression products for both the power mains and the often neglected telephone Ethernet and ISDN line connections that can and do conduct powerful surges into the equipment http www telos systems com techtalk surge htm Installation amp Connections Rack Mounting amp Grounding The Omnia 11 is a large unit so it would be advisable to have the help of an assistant when installing it in the rack The Omnia 11 requires four RU 7 17 78 cm of rack space Pull the outer edge the 2 rack handles towards you until they lock securely Then and only then rack mount the unit using all four rack screws No other two screw mounting arrangement will secure the unit properly or prevent distortion of the front panel Once secured to the rack slide the release pin for each rack handle toward you and fold the rack handles back to their normal position Adequate ventilation should be provided and although not required it is always good e
25. steps The gain in dB is shown inside the control with the previous setting enclosed in brackets 11 gt Watch the L eft and R ight channel Primary Input horizontal bargraph meters in the Metering Area while adjusting per the following section Proper Setting of Input Levels With normal program audio levels applied For analog boards this would be OdB or OVU on the console s meters and for digital boards this would be when the metering on the Omnia 11 is matching what your digital console is showing on its metering a correct input level setting will result in the Peak Indicators on the horizontal L amp R bargraph meters regularly reaching between 18 and 12 dBFS or a little higher just into the yellow This gain setting corresponds to system peak headroom of about 12 18 dB You may adjust the input level slightly lower for more headroom if you wish Setting the input level for higher meter indications less headroom is strongly discouraged unless there is another level control device prior to the Omnia 11 that will keep the input levels from reaching the maximum digital level of 0 dBFS During normal operation you should never see the red 0 segments light Summary Detail Analysis Tabs Only the Summary tab is active Primary Input in the v1 0 firmware Secondary Input Primary Input Level Meters Secondary Input Level Meters Peak Indicators gt Once the desired Input level setting is
26. sudden downward level shifts on peaks during dynamic program material dulling the natural transient nature of the program material These peaks are best controlled later in the Omnia 11 s Limiter section Release The release control adjusts how fast the AGC recovers from periods of more gain reduction when the input audio levels fall Faster release times higher numbers result in quieter sections of the program material being brought up faster Try not to set the release too fast though since that can cause the loss of the program material s natural dynamic feel Phase Rot Phase Rotator The phase rotator improves waveform symmetry for program material that is highly asymmetrical in nature Examples of such programming are the human voice and sources with non sinusoidal waveforms such as certain string and wind instruments as well as certain sounds created by electronic synthesizers By removing waveform asymmetry from the input program material cleaner processing results because any limiting that occurs is able to work equally on both positive and negative excursions of the audio waveform We recommend that this be turned on unless you have phase rotation enabled in your mic processors Engage enables ON or bypasses OFF the WB AGC section 36 Wide Band AGC WB Advanced Tab Touch the WB button and then the Advanced tab to display the advanced controls for the Omnia 11 s smart Wideband AGC section There are 4 variable
27. the composite output BNC jacks can be adjusted separately using the Output 1 and Output 2 variable controls in the Composite Level group over a range of 0 to 10 volts in precise 0 05v increments NOTE Always use typical program material and a calibrated modulation monitor to Composite properly set modulation To aid quick adjustment it sometimes helps to advance the Clipper Drive control before adjusting the composite outputs Note that reference line up tones applied at the Omnia s input cannot be used since the RMS level of a steady state tone does not crest at 100 modulation FM Options Composite Output Submenu Basic Tab Pilot Level sets the 19kHz pilot injection level up to 12 0 in 0 1 steps relative to 100 modulation To defeat the pilot simply adjust the Pilot Injection control to 0 0 and the pilot will be off Pilot Phase This parameter sets the phase relationship between the 19 kHz pilot and the 38 kHz suppressed carrier The system default is 0 0 degrees The performance of the DSP based digital stereo generator is theoretically perfect however should the phase need adjustment in order to offset time domain errors in the overall transmission system the pilot phase can be adjusted 32 in 1 increments We recommend that a calibrated modulation monitor be used for this adjustment Stereo Separation The stereo sound field can be reduced by 3 dB or 6 dB to suppress processing induced multipath t
28. thing to verify is normal front panel jog wheel operation Verification of front panel operation helps narrow down where the problem is Look at the metering display If there is input audio but no output audio indications try removing power from the unit waiting 20 30 seconds then restoring power If that doesn t bring the operation back to normal then a hardware failure of some sort may have occurred If you get output levels but have no output audio verify that the outputs are connected correctly An analog output connected to a digital device or a digital output connected to an analog device won t pass audio Connect the appropriate test generator to the output cables to verify analog digital audio is making it to the next device The next condition to check is to see if the failure has caused the processing to cease Using program material check to see if the processing bargraphs are operating If they are then it s a good indication that the system s host processor is working At this point it would be a good idea to see if the loss of audio is confined to only one output port e g the discrete left right outputs one or both of the composite MPX outputs or the digital AES EBU or Livewire outputs Check the signal at each of these locations If one of the output sections is not operating then it can be localized to that specific section Note The discrete left right outputs are operated from their own specialized Digital to Analog c
29. unit using the appropriate supplied power cable for your location There is no power switch When the Omnia 11 is first powered on you will see text based boot status messages followed by some graphics test screens and finally the main screen as shown below This main screen will appear frozen for a while as the I O board finishes booting up This is normal Audio will appear at the analog audio outputs approximately minute from power on The AES EBU and Livewire outputs also become usable at this time however full initialization of the digital ports is not complete for several more seconds and a small audio glitch may be heard when the final sample rate converter initialization is complete 192 168 2 199 CGSmooth AES EBU FM TI Wide Band Limiters Output Advanced Master Master Master 8 0 0 0 0 0 Right Trim 0 0 PNS T pa ee Input Mode Stereo nput Source Input Screen You will note that the screen defaults to the adjustment ADJ mode with the Input menu and metering displayed The Omnia 11 is now ready for configuration and use Please proceed to the next chapter to learn how to use the touch screen graphical user interface and how to configure the Omnia 11 for your system Chapter 2 Getting To Know Your Omnia The Omnia 11 User Interface Now that your Omnia 11 is rack mounted connected to a program audio source and turned on you re ready to learn how to operate it This
30. 0 dB FM Options Right D AES 1 Sample Rate AES 2 Sample Rate AES EBU Output Submenu Basic Tab De Emphasis controls whether the appropriate AES OUT XLR output when set to FM is de emphasized ON or not OFF Output Selection selects the processing channel assigned to that output FM HD or DJ AES 1 Sample Rate These drop down controls select the sample rate for each of the 2 AES EBU XLR outputs Possible settings are 48k internal 48 kHz clock Input syncs to the sample rate on the AES EBU input jack or External syncs to the sample rate of an AES EBU signal applied to the External Sync XLR input jack on the rear panel AES 2 Sample Rate These drop down controls select the sample rate for each of the 2 AES EBU XLR outputs Possible settings are 44 1k internal 44 1 kHz clock 48k internal 48 kHz clock or External syncs to the sample rate of an AES EBU signal applied to the External Sync XLR input jack on the rear panel Sync to Input is not available for AES 2 If you have AES 1 synced to Input and you also need AES 2 synced to the same source you will need to bridge the AES 1 output into the External Sync input and set AES 2 Sample Rate to External 22 Livewire There are 4 similar controls each in the Livewire 1 Level and Livewire 2 Level groups preset Mirco Acancesi Master controls the Livewire digital output level pesa per aiid Salon of both the left amp right channels simultaneously Note T
31. 0000 IO be available with a free downloadable software S a7 2 update Please check the Omnia website for new RS 232 DIAG software announcements download links and manual updates at http www omniaaudio com General Purpose Interface GPI DB 15F NOTE GPI functionality is not yet available with the current software It will be made available to you in a free future software update This DB15 female connector serves as a four input opto isolated interface to the Omnia s internal Trigger Script functions Four of the pins are trigger inputs one is a bias voltage input one is a 5V power output and the remaining three are ground The trigger inputs can be used to dynamically alter the Omnia 11 s operation in response to logic transitions on the interface connection Virtually any parameter of the Omnia can be controlled using the Trigger Scripts The Trigger Script Interface 1s a standard component of the Omnia 11 Remote Control Interface Full details including connector pinout are covered in Appendix C starting on Page Please note that the GPI and Trigger Script functionality are not yet implemented in the current software but will be available with a free downloadable software update Please check the Omnia website for new software announcements download links and manual updates at http www omniaaudio com Powering Up Now you are ready to power up the Omnia 11 for the first time Connect AC power to the
32. 2 Enter the Password the default is omnia all lower case and click on the Login button Or simply press Enter The following screen should appear 2 Main menu Remote File Transfer Logout Meters amp remote control User file transfer i Logout of the system and return to login screen There are 5 buttons across the top menu bar and 4 of those 5 are duplicated below in the Main Menu The top menu bar will remain visible when in the File Transfer and About screens You can select Metering amp Remote Control Remote to open the processing screen Java applet File Transfer to save amp load processing and I O configuration presets to amp from your computer About to view system and support information and Logout to logout and return to the login screen The Main Menu button in the top menu bar is used to get back to this screen from the File Transfer and About screens NOTE After a few minutes of use and only when attempting to switch to another screen or menu you may be asked to re enter the password as a security measure before the remote app switches to your selection 66 Remote Click on the Remote link option from the top menu or Meters amp remote control from the Main Menu You may see the Java logo and then the main Remote Control screen should appear Back to Main Menu 192 168 2 75 lt none gt CGSmooth Livewire 1 FM T af i Wide Band ele Limiters Ou
33. C connectors comprise the Omnia 11 s stereo generator connections There are two composite MPX outputs with independent software level controls one SCA input with level adjust trimpot and one 19 kHz pilot sync output SCA IN LVL rai N 70 COMP 1 COMP2 19kHz OUT SCA INPUT COMP 1 amp COMP 2 Composite Outputs 1 amp 2 BNC These two low impedance outputs Composite 1 and Composite 2 are each capable of driving up to 100 feet of RG 58A U coax cable The output levels are individually adjustable so the unit can operate as a composite DA to drive a variety of equipment The output levels and other stereo generator settings are set through software parameters in the Stereo Generator submenu of the Input Output menu An internal jumper sets the output impedance to either 5 ohms the factory setting or 75 ohms The default setting is appropriate for the vast majority of exciter connections However in the event that a higher source impedance is required a jumper can be moved one for each composite output on the motherboard to change the source impedance to 75 ohms For reference JP10 1s for Composite 1 and JP9 is for Composite 2 19 kHz OUT Pilot Sync Output BNC This TTL level 19 kHz square wave output can be used as the reference signal for most RDS or SCA generators that operate at 57 kHz or other multiple of the 19 kHz pilot frequency This Sync output is phase and frequency locked to the stereo pilot When this sign
34. GC DJ Mix DJ Mix er Basic Tab Preset Wizard Basic Advanced LO LIM DJ Mix LO Density MID LIM DJ Mix MID Density HI LIM DJ Mix HI Density Output Master Density Master DJ Lim iter Basic Tab 42 DJ Mix The controls here allow you to get a customized mix of the 5 Band AGC sections output to feed the special DJ processing Each band defaults to a middle setting of 0 0dB so your changes will be offsets in or dB You can use these controls like a 5 Band equalizer to tailor the sound applied to the DJ 3 Band processing section These controls will not affect the main processing path DJ Lim Here you will find Mix controls for each of the 3 DJ Limiter bands post processing an Output Master level control and Density management controls for each of the 3 bands The Density controls set the aggressiveness of the DJ processor higher settings giving a more processed and compressed sound and lower settings giving a more open sound There are Density controls for each of the 3 bands and an overall master setting that adjusts all 3 bands at once AGC Advanced Tab 7 Sub Group controls for each AGC band become available in the Advanced tab The Gate_Thresh control allows you to adjust the Preset Wizard Basic Advanced gate threshold of each band individually evi ra RTP Level RTP Speed and Makeup Gain controls do not appear in the Basic tab and must be RTP Level Release a set individually
35. Hz Suppression gt 70 dB referenced to 100 modulation 76 kHz Suppression gt 80 dB referenced to 100 modulation Pilot Protection gt 65 dB relative to 9 pilot injection kHz 57 kHz RDS RBDS Protection better than 50 dB Two EMI suppressed female BNC floating over chassis ground Maximum Load Capacitance SnF at 10 ohms source impedance Maximum cable length 100 feet 30 meters RG 58A U Left Right Stereo Electronically balanced Input impedance 10k ohms resistive Maximum Input Level 22 dBu Nominal Input Level 4dBu which nets a 18dBFS input meter reading on a steady state signal when the Input Gain control is set to 0 0dB Program material with a nominal average level VU reading of 4dBu will typically produce peak readings on the input meter in the range of 12 dBFS to 6dBFS This is the correct operating level Crystal Semiconductor CS5361 24 bit 128x over sampled delta sigma converter with linear phase anti aliasing filter Pre ADC anti alias filter with high pass filter at lt 10 Hz Two EMI suppressed XLR female Pin 1 chassis ground Pin 2 Hot Analog Audio Output D A Conversion Connectors Digital Audio Input Left Right Stereo Electronically balanced Output Impedance 20 ohms Minimum load Impedance 600 ohms Output Level adjustable from 2 dBu to 22dBu peak in 0 1dB steps Crystal Semiconductor CS4391 24 bit 128x oversampled Two EMI suppressed XLR male Pin 1 ch
36. R RE EA 21 br DI Loiano 23 Haile 23 Coppo 24 For more information please see Frank Foti s white paper available on our website at 24 PMO DON a E a n 25 ITU BS 412 Power Limiter 25 Diorio Dl 26 SCAINLVL Contolon Real Pareri 26 Outpul IWC EG ENG glia 26 SUM i a 26 DA A O O n 27 Chapter 4 Introduction to Omnia 11 Processing ccrrcccccssssssssssscccccccccsssssssssesssssees 29 WBC C0 Deer 30 ba K SCUS PEIEE E AA E O E EAE E A A O T E O E A 30 SM LIS a e E io E 31 CLE DIN aaa A E E EN E E EAE ora 31 Chapter 5 Detailed Processing Adjustment ccccccccccssssssssssssssssssssssscsssssccccccssssssssssseesseees 33 Recommended Tried and True Adjustment Procedure cccccccssssssccccsssssssccccccsscees 33 Bc E DIT a E EE E O O E O TANT 34 UIL PRETORIO TTA 34 Wide Band AGC Metering Summary Tab a ra 35 Wide Band AGC WB Basic Fabi 35 Wide Band AGC WB Advanced Tab 37 ENH rr 38 AGC eaves teseeeuuttst vs tussesunessaesestensecsuetuntsvsnusseseseanesestunsecesedaneevsnueseosseden eves tansevesetantsestucseeesezanerests 39 i AGC Crossover CTS AS IO AD PR RS ET 39 fi AGC Crossover Advanced TAD rriren eean IAA 39 AGC Meteorinae Sunmar TaD iaia 40 AC Ba e Be 6 ai 40 Low Delay DI MONIOCOUPUl cilir ribassi 41 PUGS GY iaia 43 ah AGC Mixer M TA E ete E ccs seo eater E EAE T 44 ELOS E IT 44 i Limiters Crossover i OT AND RE A 44 Limiters Go
37. This product must be operated from the type of power source indicated on the marking label and in the installation instructions If you are not sure of the type of power supplied to your facility consult your local power company Grounding and Polarization This product is equipped with a polarized AC plug with integral safety ground pin Do not defeat the safety ground in any manner Power Cord Protection Power supply cords must be routed so that they are not likely to be walked on nor pinched by items placed upon or against them Pay particular attention to the cords at AC wall plugs and convenience receptacles and at the point where the cord connects to the product Lightning For added protection for this product during a lightning storm or when it is left unattended and unused for long periods of time unplug it from the AC wall outlet This will prevent damage to the product due to lightning and power supply surges Overloading Do not overload AC wall outlets extension cords or integral convenience outlets as this can result in a fire or electric shock hazard vill 15 16 17 18 19 20 21 INSTRUCTIONS 14 Object and Liquid Entry Never push objects of any kind into this product through openings as they may touch dangerous voltage points or short out parts that could result in a fire or electric shock Never spill liquid of any kind into the product Accessories Do not place this product o
38. VO Coniiguraton bile 69 Software Update Procedure sscscscccccccccecccccccccocccccesecccccesoccscsossccccccscececesecosssssssseccccssecceeeee 69 Vil 10 11 12 13 SAFETY Read All Instructions All safety and operating instructions must be read before operating the product Retain All Instructions All safety and operating instructions must be retained for future reference Heed All Warnings All warnings on the product and those listed in the operating instructions must be adhered to Follow All Instructions All operating and product usage instructions must be followed Heat This product must be situated away from any heat sources such as radiators heat registers stoves or other products including power amplifiers that produce heat Ventilation Slots and openings in the product are provided for ventilation They ensure reliable operations of the product keeping it from overheating These openings must not be blocked nor covered during operation This product should not be placed into a rack unless proper ventilation is provided through following the manufacturer s installation procedures Water and Moisture Do not use this product near water for example near a bath tub wash bowl kitchen sink or laundry tub in a wet basement or near a swimming pool or the like Attachments Do not use any attachments not recommended by the product manufacturer as they may cause hazards Power Sources
39. WB AGC vertical gain reduction meter described in the Wideband AGC Metering section below Using higher compression ratios a Ratio setting in the Advanced tab of 5 1 or higher will minimize any level variation coming from the studio The trade off is a more closed in sound when going above 5 1 Some programmers desire this effect for CHR programming so it s just a matter of programming taste 34 Ratios of 3 1 or 4 1 preserve a bit more of the natural dynamics in the source material while still riding the gain very well A ratio of 2 1 is used primarily to provide maximum preservation of dynamic range on very wide dynamic range program material such as Classical The Window function also in the Advanced tab provides a dead band area for the wideband AGC If you set it at 2 dB you re telling the wideband AGC that if the source material 1s within 2 dB of the target level do nothing This will allow 2 dB of level variation in the audio which is nice for keeping the Omnia 11 from over processing already dense material The lower you set the number say from 2 dB to 5 dB the more variation in programming levels you re allowing through and the more relaxed the audio sounds Wide Band AGC Metering Summary Tab The WB AGC meter indicates gain reduction from the top down in db The Stereo Enhance meter indicates the amount of activity in the stereo enhancer from the bottom up Gating activity is indicated by a bright y
40. al is used to synchronize an external SCA or RDS generator this locking assures that no difference frequencies exist which may cause intermodulation between the pilot and the SCA signal SCA INPUT BNC Any SCA or RDS signal above 53 kHz can be added to the composite outputs of the Omnia 11 by connecting the signal to the SCA INPUT connector The SCA signal is mixed in the analog domain directly into both composite outputs A high pass filter on the SCA input provides SCA to main channel crosstalk protection The SCA injection level can be adjusted using the SCA IN LVL control trimpot See below for details SCA IN LVL SCA Input Level trimpot adjustment Located just above the SCA Input BNC jack is the SCA IN LVL SCA Input Level adjustment control Carefully insert a small bladed screwdriver into the hole and adjust the control if needed to set the SCA injection level AES EBU Digital Input Outputs amp AES EBU External Sync Input AES INPUT AES OUT 1 AES OUT 2 AES SYNC IN The digital AES EBU AES 3 inputs AES INPUT and AES SYNC IN use standard balanced 3 pin female XLR connectors They accept any sampling rate between 32kHz and 96kHz No user adjustment of the sample rate is necessary on the AES 3 input as a high quality digital sample rate converter is built in There are two AES 3 outputs on standard balanced 3 pin male XLR connectors These provide either an internally generated output sample rate of 48 kHz or the sample rate
41. an 2 selections in a drop down list are changed by first touching the control to display the list and then touching the desired selection from the list User Interface Tutorial Input Source Selection and Peak Input Level Setting The following exercise is a useful introduction to the user interface Start from the Input metering menu screen as displayed when the unit is first turned on If the Input metering menu screen is not being displayed touch the ADJ icon button in the upper left corner of the screen and then the Input icon button to display it gt Touch the control in the Menu area labeled Input Source to bring up the drop down list of possible input sources gt Analog is the default input source The other choices are AES EBU digital Livewire 1 and Livewire 2 Touch the desired input source name to select it Note that the current selection will be highlighted white on gray in the list Even if you will be using the analog inputs try selecting another input and then switch back to Analog If you do not wish to change the current selection simply touch anywhere outside the control in a blank area of the screen to close the drop down gt Now touch the Master input level variable control for the input you just selected above gt Rotate the jog wheel clockwise to increase the input level Rotate the jog wheel counter clockwise to decrease the input level This control adjusts both channels together in precise 0 5 dB
42. assis ground Pin 2 Hot Configuration Stereo per AES EBU standard CS8420 Digital Audio Transceiver with 24 bit resolution software selection of stereo mono from left mono from right or mono from sum Automatically accepts and locks to input sample rates between 30 and 108 kHz 56 Connector XLR female EMI suppressed Pin 1 chassis ground pins 2 and 3 transformer isolated balanced and floating AES3 standard 110 ohm impedance Digital Audio Output 1 Connector Stereo per AES3 standard Output can be configured in software for flat or pre emphasized response at 50 or 75 microseconds Digital Sample Rates Output sample rates software selectable for 32kHz 44 1kHz 48kHz and 96 kHz XLR male EMI suppressed Pin 1 chassis ground pins 2 and 3 transformer isolated balanced and floating Standard AES3 specified 110 ohm source impedance Digital Output Level 22 0 to 0 0 dBFS software adjustable Digital Audio Output 2 Connector Stereo per AES3 standard Output can be configured in software for flat or pre emphasized response at 50 or 75 microseconds Digital Sample Rates Output sample rates hardware jumper selectable for 32kHz 44 1kHz 48kHz or 96 kHz or its rate slaved to AES 1 XLR male EMI suppressed Pin 1 chassis ground pins 2 and 3 transformer isolated balanced and floating Standard AES3 specified 110 ohm source impedance Digital Output Level 22 0 to 0 0 dBFS software ad
43. ation of this equipment in a residential area may cause interference and the user and at his expense will be required to take any measures required to correct interference CANADA WARNING This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference Regulations of the Canadian Department of Communications Le present appareil numerique n emet pas de bruits radioelectriques depassant les limits applicables aux brouillage radioelectrique edicte par le ministere des Communications de Canada 1X CE CONFORMANCE This device complies with the requirements of the EEC Council Directives 93 68 EEC CE Marking 73 23 EEC Safety low voltage directive 89 336 EEC electromagnetic compatibility Conformity 1s declared to those standards EN50081 1 EN50082 1 LITHIUM BATTERY CAUTION There is a danger of explosion if the internal battery is replaced incorrectly or shorted Replace the battery only with same or equivalent type recommended by the manufacturer Dispose of used batteries according to the manufacturer s instructions USE OF SHIELDED CABLING In order to conform to the CE requirements for High Frequency radiation shielded cables must be used for all audio and data connections NOTE When the unit is operated in an extremely high RF environment it may be helpful to connect cable shields to the XLR connector terminal that connects cable shield to chassis ground not
44. c Provisioning The codec is now a common denominator in the world of audio and broadcasting Digital broadcasting HDTV HD Radiot DAB DRM podcasting webcasting cellcasting and downloadable music files all employ a form of codec based data compression in order to minimize the bandwidth required to transmit data The necessarily low bitrates utilized by these mediums presents a tough challenge for any audio processor used prior to a codec Traditional dynamics processors were designed to fulfill the requirements of a medium where the functions were generally static That is they were well suited to the rather simplistic peak control and bandwidth limiting methods that were required for analog broadcasting as well as for the signal normalization techniques used in recording and mastering Audio codecs on the other hand are moving targets each codec algorithm has its own set of artifacts So not only does the sonic quality vary depending on the algorithm and bitrate used but more importantly they vary in their ability to mask their own coding action This is why we call it a moving target and is why conventional audio processors fall short in a coded audio environment and can actually make coding artifacts worse due to their inability to adapt appropriately to the changing operation of the codec as the program content changes Prior art in audio dynamics processing could only address some of the challenges of provisioning audio for coding T
45. cedure Software updates for the Omnia 11 are currently performed by swapping out the unit s internal compact flash software card with a new one provided by Omnia Support The compact flash card is located inside the top cover of the unit and that top cover must be removed to access it Full illustrated instructions are provided with the update A future free software update will allow updates going forward to be performed over the Ethernet remote control connection using an update file downloaded from the Omnia website We apologize for any inconvenience this may cause in the meantime and sincerely Thank You for your patience as new features are developed and incorporated into the Omnia 11 Best Regards Team Omnia 69 70
46. ch is not yet implemented The state of On Off controls can be changed either by rotating the Jog Wheel counter clockwise for off and clockwise for on or by touching the left or right half of the control as appropriate Touching the left half of the control will turn it off and touching the right half of the control will turn it on Drop Down controls controls that have more than 2 selections in a drop down list are changed by first touching the control to display the list and then touching the desired selection from the list 111 Livewire i AES INPUT AES OUT 1 AESQUT2 AES SYNC IN D LL hi wat A Tiled Company PA pa m meri hs da a A le Lala 1241 SUPERIOR AVENUE 4 i fy N Fe A fi id retin nol HAT x n pa n hs A k i LA 7 x A 7 esi 390100 ANALOG INPUTS ANALOG OUTPUTS FT j i LE RIGHT LEFT RIGHT SCA IN LVL RE 232 AUX De Ni y A COMP 1 COMP 19 H z OUT f GPIO INTERFACE fF P fF aN kt i k CA h ie Ma is ety j 120 240 VAC 1 04 0 5A 50 60 Hr i i ii t te a pi Vi Loi ks LA a i SCA INPUT RS 232 DIAG The Omnia 11 is a large unit so it would be advisable to have the help of an assistant when installing it in the rack Pull outward on the outside of each handle until you hear a click and they both securely lock into place Using the handles install the Omnia 11 in the equipment rack using all four rack screws Once secured to the rack slide the release pin
47. chapter covers the front panel touch screen user interface your window into the Omnia 11 processor The large front panel full color LCD touch screen along with a jog wheel make up the primary Omnia 11 User Interface Omnia 11 Key Front Panel Features Headphone Jack Headphone Level Control Jog Wheel Icon Buttons Tabs Touch Screen LCD Display Metering Area Menu Area Sub Group Buttons Headphone Level Control A standard 1 4 TRS stereo headphone jack is located at the left side of the front panel and allows the processed audio signal to be monitored The Headphone volume level control is physically located to the right of the headphone jack The headphone amplifier itself is a high headroom design and is driven by its own high quality D A converter that is independent of the analog XLR outputs Therefore level changes in either output will not affect the other Icon buttons Metering Area and Menu Area Status Bar Icon Buttons Tabs Master Master Variable Controls Right Trim Right Drop Down Controls Menu Area Metering Area Input Screen The top row of the Omnia 11 s screen contains a Status Bar The status bar shows the current date amp time the unit s IP address fault status currently selected I O configuration if any currently selected processing preset and the currently selected input Just below the status bar are 9 Icon Buttons Setup ADJ Input Wide Band AGC Limiters FM HD and Output
48. ct as a very smart hand on the pot ensuring that quiet intros for example do not get lost or that loud program sections do not over drive the following 5 Band AGC section Adjustments here can be found in both the Basic and Advanced tabs and are discussed fully in the next section First a few important notes about the WB AGC in the Omnia 11 since it is different than what has come before We designed the AGC with very active programming in mind Make sure your input levels on the processor are set properly per the instructions earlier in this guide and are hitting up to around 12 dB on the Input Meters when your incoming program levels are normal For analog boards this would be 0dB or OVU and for digital boards this would be when the metering on the Omnia 11 is matching what your digital console is showing on its metering In other words with normal program audio playing if the analog console s meters are bouncing up to OVU or the digital console s meters are hitting 12 dB the Omnia 11 s Input meters should show about 12dB If they are you re good to go As for the AGC you can drive it very heavily if you want It won t care It will not change its sound characteristics no matter how heavily it is being driven up to 30 dB In other words there is no sweet spot to get the best sound On the normal program levels described above it should generally average around 9 to 15 dB or so on the
49. does come a time when the ears become less and less sensitive to the adjustments you re performing Ears tire and that s why spreading the adjustment period over a number of days is recommended If what you ve done still sounds good after you have slept on it stop adjusting If you re not quite there yet continue with small iterations until you re satisfied If you are homing in on your goals you ll find that each day the discrepancies become smaller and you re making fewer adjustments 7 When you get it where you like it stop and enjoy 33 Block Diagram If you look closely at the Icon Buttons at the top of the Omnia 11 s screen you will see that they form a block diagram or flow chart of the processing path your audio takes through the fully digital DSP based processing stages within the Omnia 11 Icon Buttons The audio starts at the Input section where input sources are selected and levels are set The audio then goes to the first processing stage the Wide Band AGC automatic gain control Next up is a 5 Band AGC section a 6 Band peak Limiter section with its own crossover and the final separate peak control sections for the FM and HD channels Lastly is the Output section where the channels are routed to their selected output jacks and levels are set Wide Band The Wide Band AGC section 1s the first processing section the audio sees as it passes from the Input section The job of the Wide Band AGC is to a
50. e Note To ensure prompt service the Return Authorization number must be written prominently on or near the shipping label on the box 62 Warranty This Warranty covers the Products which are defined as the various audio equipment parts software and accessories manufactured sold and or distributed by TLS Corp d b a Omnia hereinafter Omnia With the exception of software only items the Products are warranted to be free from defects in material and workmanship for a period of two years from the date of receipt by the end user Software only items are warranted to be free from defects in material and workmanship for a period of 90 days from the date of receipt by the end user This warranty is void if the Products are subject to Acts of God including without limitation lightning improper installation or misuse including without limitation the failure to use telephone and power line surge protection devices accident neglect or other damage EXCEPT FOR THE ABOVE STATED WARRANTY OMNIA MAKES NO WARRANTIES EXPRESS OR IMPLIED INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE In no event will Omnia its employees agents or authorized dealers be liable for incidental or consequential damages or for loss damage or expense directly or indirectly arising from the use of any of the Products or the inability of the end user to use any of the Products either separately or in combination wi
51. e latest version can be downloaded here Scroll down to Java Runtime Environment JRE and press the download button The above screenshot shows the Processing screen of the Omnia 11 s built in remote control applet This is a Java applet that requires the Java Runtime Environment JRE from Sun 3 Microsystems version 1 4 or higher to be installed on your computer Once JRE is installed the e Remote Control applet is accessed through the Omnia 11 s built in web page interface via ci TCP IP using any standard Web browser that supports Java The latest version of JRE for Windows Solaris Linux and Apple Mac OS is available here http www java com en download manual jsp Note The remote uses the following network ports that will need to be opened forwarded through any routers that may be present in the network The normal http port 80 port 93 port 4545 amp port 4546 65 Once Java is installed on your computer using a Web browser connect to the IP address of your Omnia 11 as follows see Setup on Page if you need to enter the network parameters into the Omnia 11 1 Open a standard Web Browser on your computer and connect to the Omnia 11 by Remote Control for Omnia 11 entering http xxx xxx x xxx in the browser s address bar where the x s in the l example above are replaced with the Login Omnia 11 s IP address Once connected you should see the Login screen You have been successfully logged out
52. e parameters can also be individually adjusted for each in the Advanced tab relative to this master or offset control setting Multi Band AGC Menu Basic Tab Attack Offset Overall Attack Time The attack control adjusts how fast the AGC responds to sudden increases in audio level and higher numbers equate to faster response times Faster attack times reduce the transient nature of the input audio while slower attack times improve it Extremely slow attack times must be used with caution because the following limiter stage may be forced to work too hard or be overloaded Extremely fast attack times must also be used with caution because they may make the audio sound too compressed and lifeless losing too much of its natural dynamic character 40 Release Offset Overall Release Time The release control adjusts how fast the AGC recovers from periods of more gain reduction when the input audio levels fall Faster release times higher numbers result in a more dense sound Even though the Omnia uses program controlled release algorithms setting the control for extremely fast release times can result in pumping Extremely slow release times can result in loss of loudness and frequency balance issues when the program levels drop Gate Master Overall Gate Threshold When the input audio falls below a certain level the gain control action of the AGC stage 1s frozen by the gate If the audio remains below the threshold le
53. e top right of the screen to bring up the Output menu and metering If the Basic tab is not selected touch it to select it Touch the FM Options button on the left side of the Menu Area and ensure that the Pre Emphasis De emphasis and BS 412 settings are correct for your system and your location The de emphasis only affects the XLR and Livewire outputs and can be set on off individually for each output The composite MPX outputs are never de emphasized All outputs are active simultaneously Now touch the appropriate button above the FM Options button to select the group of output controls you will be using Adjust the appropriate control so that the output level is correct for the equipment that follows the Omnia 11 For access to the composite MPX stereo generator controls touch the Composite button Touch the FM icon button then touch the Preset tab to display the list of factory processing presets Touch the preset you would like to start with to select and activate it Note The same processing Preset tab is also available in the Wide Band AGC or Limiters menus as well as the FM menu We strongly suggest listening to all the factory presets regardless of their name to get a feel for their differences For each one be sure to adjust the clipper Drive control here in the FM menu as low as possible for the loudness needed This controls the primary loudness vs distortion tradeoff The
54. ed by small Sub Group Buttons on the left side of the Menu Area Touch the desired button to bring up the controls in that sub group 10 There are 3 styles of controls Variable controls Off On switches and Drop Down list controls Examples of Variable and Drop Down controls can be seen in the Input screen picture above while Off On switches Sub Group Buttons and Variable Controls can be seen in the Wide Band AGC menu area picture on the next page To select a Variable Control in the Menu Area for adjustment touch it to select it it will be highlighted in an alternate color when selected then rotate the Jog Wheel to adjust it in real time No additional confirmation touch is needed Note The Jog Wheel s push switch is not yet implemented The state of Off On switches see picture at left of the Wide Band AGC Basic menu area can be Preset Wizard Basic Advanced Drive Phase Rot changed either by touching the control over the gray indicator so as not to change its state to Cate TRrask Engage highlight it and rotating the Jog Wheel counter clockwise for off and clockwise for on or simply by touching the left or right half of the control over the ON or OFF text Touching the left half of the control will turn it off and touching the right half of the control will turn it on Attack Release Gray Indicator On Off Switches Sub Group Buttons Variable Controls Drop Down controls controls that have more th
55. ellow outline Gate Indicator around the blue gain reduction meter The gate indicator may show more gating activity than you may be used to in conventional processors but this 1s normal Summary Detail Analysis Stereo Enhance Wide Band AGC Gain Reduction Meter Stereo Enhancer Activity Meter WB AGC Metering Screen Summary Tab Wide Band AGC WB Basic Tab The Basic tab here includes not only the adjustments for the WB AGC but also for the Omnia 11 s Bass and Stereo Enhancement functions Touch the WB button and then the Basic tab to access the basic controls for the Wide Band AGC 35 There are 4 variable controls and 2 switches located in the WB AGC Basic tab menu area preset Wize n Ance Drive controls the amount of drive to the WB AGC stage over a or 12 dB range Increasing the drive causes deeper compression to be achieved This allows quieter passages in the input audio to be raised further than if lesser drive and less compression was used By default if your input levels are correctly set there will nominally be about 12 15dB of WB AGC gain reduction with normal OVU program audio playing from your console or automation system Drive Phase Rot Gate Thresh Engage Attack Release WB AGC Menu Basic Tab Gate Thresh Gate Threshold When the input audio falls below a certain level the gain control action of the AGC stage is frozen by the gate The level at which this freeze
56. erence The currently enforced standard falls under the ITU BS 412 regulations The Omnia 11 FM has a very effective Multiplex Power Limiter that may be enabled to comply with these regulations Loudness Loss Warning If your country s regulatory agency does not require the use of the ITU BS 412 Multiplex Power Limiter make certain that the BS 412 Engage control is set to Off or severe loss of loudness will result For example when the ITU BS 412 Power Limiter is switched on and set at 0 0dB there is approximately a FIVE dB loudness loss over the limiter being switched off BS 412 Engage This control enables On or disables Off the BS 412 Power Limiter The default setting 1s Off Threshold When On above this control sets the average multiplex power from 3 0dB up to 9 0dB in 0 25dB steps with respect to the original 0 0dB ITU BS 412 standard 25 Diversity Delay Headphone Diversity Delay Lomposite 8 0 20 18 5 FM Options The 3 buttons below the numerical diversity delay time display are used to set the precise diversity delay time typically used for HD Radio installations that will be applied to any output that is set to the FM channel If diversity delay is not used be sure the numerical display is showing all zeros To activate the diversity delay start by touching the Sec button and use the jog wheel to set the course delay time in seconds Similarly you can touch the msec and usec buttons to finel
57. ese controls carefully to optimize the overall frequency balance for the HD channel especially if the FM channel is set up aggressively Adjusting all 6 controls an equal amount is virtually the same as adjusting the final limiter s Drive control HD Limiters Mixer Menu Basic Tab 50 HD Channel Metering Summary Detail Analysis Bass Clip Sensus Final Limiter HD Metering SummaryTab HD Channel Bass Enhancer Basic Tab The HD channel s metering shows you the activity in the Bass Clipper Sensus codec conditioner and Final Limiter These are gain reduction meters similar to those in the Limiter section and read from the top down Touch the Bass button to display the controls for the HD channel s bass enhancement functions There are 4 variable controls located here Preset Wizard EENE Advanced Bass Enh Phat Bass es Bass Bass Clip Smooth Sensus Limiter Bass Clip Thresh HD Bass Enhancer Menu Basic Tab Bass Enh ance This controls the amount of bass enhancement applied to the HD channel A setting of 0 0 effectively turns bass enhancement off The smart bass enhancer will add bass to bass shy material without overdoing it on material that already has enough bass Phat Bass This control adds additional bass enhancement that can give your station a phatter sound especially on radios with small speakers that lack actual deep bass This is a brand new Phat Bass algorith
58. essive processing For example a higher drive setting adds more gain into the dynamics section a higher attack or release setting means a faster time constant more compressed sound and a higher gate threshold setting means more gating will occur Depending on the type of control adjusted and its range the changes you make can affect the sound in subtle or extreme ways Our advice is to make a limited number of changes at a time make those changes in small increments and then listen to the results for a period of time before making any further adjustments Keep in mind that should you get lost you can always go back to where you started by simply recalling the factory preset that you started with The factory presets cannot be overwritten Recommended Tried and True Adjustment Procedure 1 Make sure that the Omnia 11 s Input and Output settings are correct for your system See Chapter 3 Page 19 Input amp Output Configuration 2 Once on the air and configured properly for your system start with a degree of processing that is similar to that currently used by your station using the preset you selected on Page 30 and then if desired become more aggressive A careful approach is less likely to draw hasty or even negative opinions 3 Be sure to have a clear objective in mind before beginning Some examples would be 1 to try to increase loudness while maintaining as much quality as possible 2 to adjust the frequency bala
59. eway address assigned to the Omnia 11 s network interface The entries have the form of octet octet octet octet which when entered may appear as a network address such as 192 168 0 1 To change a setting touch anywhere inside the white box for the setting you wish to change and the on screen keyboard will pop up 192 168 2 199 None lt none gt CGSmooth AES EBU Livewire Outputs Setup LW Out 1 258 Enabled as ARI 192 168 2 199 caliente ies SL LW Out 2 258 Enabled Version Omnia11 0 98 1 Back Light 5 mins Livewire Inputs Input3 1 Input4 2 LiveWire System RO a I A A i Use the on screen keyboard to type in the desired addresses You should only need the number entry mode of the keyboard that should be selected by default for entering the network addresses If not touch the 0 9 button Touch just to the right of the current entry at the top of the keyboard to place the cursor at the end of the entry From this position the backspace key can be used to delete the desired number of characters or the entire entry Note that there is only a backspace key and no Delete key Once you have the new entry completed as desired touch the OK key To cancel without making any changes touch the CANCEL key 16 Livewire Setup Touch the Livewire icon button to bring up the Livewire setup screen 192 168 2 199 lt none gt CGSmooth AES EBU 7 Fea Seas ag Version IP Address 192 168 2 199 ee
60. ge 100 250 VAC 47 63 Hz Less than VA Power Connector Power Supply Environmental Dimensions Shipping Weight EMI suppressed IEC male Detachable 3 wire power cords supplied for US and European use Internal Overvoltage and short circuit protected Meets EN55022 EN55011 Level B Conducted Emissions EN61000 4 2 3 4 5 6 level 3 immunity compliant Full international safety approval CE marked Operating Temperature 32 to 122 deg F 0 to 50 deg C for all operating voltage ranges Humidity 0 95 RH non condensing 19 wide x 7 high x 20 deep 48 cm wide x 18 cm high x 51 cm deep including connectors Unit requires four EIA rack spaces for mounting 36 Ibs 16 3 kg Telos Omnia Research and Development is constantly working to improve the quality of our products Actual specifications are subject to change or improvement without notice 58 Appendix B Troubleshooting Service Warranty Operational problems with the Omnia 11 can sometimes be diagnosed using the RS 232 DIAG serial port located on the rear panel of the unit and a common terminal communications program If your computer does not have an RS 232 serial port a USB to serial RS 232 adaptor can be used RE 232 AUX 4 N FS 000 o FY ali oocooo ii SQ gt GPIO INTERFACE P aN i 00000000 p O FA lo oo 0 o FY eet o 000009 J amp 0000 JN ___ Diagnostics Serial Port RS 232 DIAG
61. hat can occur in certain terrain and within certain transmission systems when heavy processing is used When a setting of 3 dB or 6 dB is used the amount of L R perceived stereo effect is also reduced However in difficult RF signal coverage areas the amount of perceived multipath is reduced as well resulting in the perception of a much cleaner overall signal with better penetration and coverage The Omnia 11 defaults to a setting of Stereo using the full L R signal for maximum separation We suggest that you leave it in that mode but the other settings are available for those who wish to experiment including a setting of full Mono Sideband Mode The normal setting for the stereo generator is the DSB setting which provides the full double sideband suppressed carrier L R signal The special SSB setting provides a single sideband suppressed carrier L R signal that can help reduce multipath and provide increased protection to the baseband spectrum Please check with your local regulatory agency before using this mode since it has not been standardized as of this writing For more information please see Frank Foti s white paper available on our website at http www omniaaudio com mpx ssb white paper 24 FM Options There are 3 groups of controls here Pre Emphasis BS 412 and Diversity Delay Preset Wizard Basic Advanced Pre Emphasis For the transmission side of conventional FM broadcasting some form of high frequency boost or
62. he Master control in the Livewire 1 Level group controls the output from the Livewire 1 channel configured in the Livewire Setup screen Similarly the Master control in the Livewire 2 Level group controls the output from the Livewire 2 channel configured in the Livewire Setup screen Analog Master De emphasis AES EBU Right Livewire D Headphone Livewire 2 Level Output Selection Master De emphasis Composite FM Options Right Right Trim controls the level of the right channel only over a limited or 3dB range to correct left right balance issues in the following equipment This is normally set to 0 0 dB D Livewire Output Submenu Basic Tab De Emphasis controls whether the appropriate Livewire output when set to FM is de emphasized ON or not OFF Output Selection selects the processing channel assigned to that output FM HD or DJ Headphone There is but a single control available here Output Selection selects the processing channel assigned to the front panel headphone jack FM HD or DJ Preset Wizard Basic Advanced Output Selection Livewire Headphone Composite FM Options Headphone Output Submenu Basic Tab 23 Preset Wizard Basic Composite Advanced Composite Level Pilot Level Pilot Phase Analog Output 1 AES EBU Output 2 Livewire Stereo Seperation Sideband Mode Headphone The stereo MPX generator output levels from both of
63. he System icon button Touch the Setup icon button icon in the upper left corner of the screen to enter Setup mode Network Parameter Setup You should see the following Network configuration screen If not touch the Network icon button to display it 192 168 2 199 None lt none gt CGSmooth AES EBU Livewire Outputs LW Out 1 258 Enabled LW Out 2 258 Enabled 255 255 255 0 i Back Light 5 mins Livewire Inputs 409 4 0279 y 192 168 2 2 Input3 1 Input4 2 LiveWire System Version Omnia11 0 98 1 192 168 2 199 ages 255 255 255 0 192 168 2 2 The Network setup screen is where you set up the Omnia 11 s network parameters for remote control and or Livewire use NOTE A reboot will be required after changing any of the network parameters Available parameters are IP IP Address Accepts data in the form of four octets to describe the Ipv4 network address assigned to the Omnia 11 s network interface The entries have the form of octet octet octet octet which when entered may appear as a network address such as 192 168 0 200 15 Subnet Subnet Mask Accepts data in the form of four octets to describe the Ipv4 network subnet mask of the Omnia 11 s network interface The entries have the form of octet octet octet octet which when entered may appear as a network address such as 235 233 233 0 Gateway Accepts data in the form of four octets to describe the Ipv4 gat
64. his hurdle existed because the codec adapts to the incoming program so as to generate the least amount of output data representing the input audio causing the sonic artifacts generated by the process to continually change Unless the audio processor can predict these changing characteristics of the codec it can t possibly create output audio that is perfectly tailored for the coding process Conventional processors utilize rather simplistic high frequency limiters and fixed low pass filtering that does not change with the program material When these less intelligent processors feed a codec the audio might sound acceptable one moment and offensive the next Because they cannot know what the codec will do next the result is over compensated dull and lifeless audio audio that still contains objectionable codec generated artifacts HD Radio The advent of HD Radio has introduced the capability to transmit multiple program streams or Multicast within a single 96kbps digital broadcast data channel To facilitate this multicast relies on the use of codecs with comparatively low bitrates A broadcaster can choose to transmit a number of multicast channels and select the bitrate for each one However the more multicast channels there are the lower the bitrate each channel must have in order for them to all fit within the total available bandwidth 53 To achieve maximum sound quality the kind that attracts and holds listeners
65. his sets the threshold level of the Bass Clipper over a range of or 6dB Negative threshold settings indicate the maximum amount that the bass clipper will pull the bass out of the main clipper to help prevent distortion Bass Clip Smooth This control adds a smoothing filter to the bass clipper that can make it sound less harsh on some material The default is all the way up 11 0 The control is here if you prefer your bass to sound harder and less smooth similar to the Omnia 6 s bass clipper s Tight setting Auto Sense This special algorithm senses the duty cycle of the clipper by watching for excessive clipper activity that may cause distortion A setting of 0 0 turns Auto Sense off Higher settings will automatically detect excessive clipping and reduce the clipper drive It is advisable especially when tuning the processing for maximum loudness to set this control first to 0 0 adjust the main Clip Drive in the FM Basic tab and then come back here and turn the Auto Sense control up until you just 49 hear it reduce the loudness too much then back it off a little from there NOTE Try experimenting with the balance between Clipper Drive and Auto Sense for your best loudness vs distortion compromise Try not to let the Auto Sense average gain reduction exceed about 2dB though Short term peaks above that are fine Bass Thump When using a lot of Deep Bass enhancement in the WB ENH menu higher se
66. ill reach the following clipper stage Usually the limiter thresholds are adjusted as a fine polish on the final sound If you are unsure about how to use the Limit Thresholds then we recommend that they be left at their well researched factory settings SL to LO Sync appears only in the SL sub group This controls how much the gain reduction of the SL band limiter s slower component is synchronized to the LO band limiter s slower component A setting of 12 0 dB all the way down turns the synchronization off Higher settings will allow the SL band s gain reduction to track the LO band s over the dB range of the control setting This is useful to avoid the buildup of low frequency room noise or rumble in the input audio when the limiters are being used fairly hard With less limiter activity this will have less effect since you will see mostly the limiter s fast component working ce Attack Attack Time The attack control adjusts how fast the limiter s slower component responds to sudden increases in audio level and higher numbers equate to faster response times Faster attack times reduce the transient nature of the input audio while slower attack times improve it Extremely slow attack times must be used with caution because the following clipper stage may be forced to work too hard causing excessive distortion Extremely fast attack times must also be used with caution because they may
67. justable External Sync Input External Sync Output sample rate can be synchronized to the signal present on the AES EBU input or to an AES3 signal applied to the Ext Sync input connector does not accept Word Clock inputs External Sync Range Accepts sample rates from 32kHz to 96 kHz Used for synchronization of the Digital Output signal to an external reference Automatically accepts sample rates between 32 and 96 kHz Connector XLR female EMI suppressed Pin 1 chassis ground Pin 2 3 transformer isolated balanced and floating Standard AES3 specified balanced 110 ohm input impedance External Sync Range Connector Automatically accepts sample rates between 32kHz and 96kHz XLR female EMI suppressed Pin 1 chassis ground pins 2 and 3 transformer isolated balanced and floating AES3 standard 110 ohm impedance 57 Remote Control Connectors GPI Interface Connector not yet available Via Ethernet or built in Wi Fi TCP IP control via built in Java TM based remote control program integrated into web page interface All software 1s served from the built in web server to any standard web browser there is nothing to install on the user s computer Ports Used The defaults are TCP Ports 4545 and 4546 for control and metering data respectively Ethernet Industry standard EMI suppressed RJ 45 connector Support not yet available EMI suppressed DB 15 female connector Power Requirements Volta
68. m Stereo the default setting Mono L routes the left channel input signal to both the left and right processing channels Mono R same as Mono L but uses the right channel input signal Mono L R sums the left and right input channels to mono and applies the summed signal to both channels and Swap Stereo but with the left and right channels reversed The Input Polarity drop down control allows you to change the polarity of the input audio in several ways Both is typically selected if it sounds better to an announcer monitoring themselves in headphones using the output of the processing than None One of the two settings should The goal is to make the relative phase of the headphone feed more in phase with the announcer s hearing of his or her own bone conduction Once set this setting should remain the same for all announcers using the same headphone feed 19 Using the L setting only the left channel phase is inverted and using the R setting only the right channel phase is inverted NOTE These settings are present as a convenience to correct 180 degree stereo phase errors in the input audio to the processor or in another device after the processor You can choose from among 4 possible stereo input sources for both the primary and secondary sources Analog AES EBU Digital Livewire 1 and Livewire 2 The Primary input source is set using the Input Source drop down control The Failover Source feature is not yet available with
69. m that fattens things up without muddiness Bass Clip Smooth This control adds a smoothing filter to the bass clipper that can make it sound less harsh on some material Bass Clip Threshold This sets the threshold level of the Bass Clipper over a range of or 6dB Negative threshold settings indicate the maximum amount that the bass clipper will pull the bass out of the main clipper to help prevent distortion There are no controls in the Advanced tab for the Bass section SI HD Final Limiter Basic Tab The HD channel employs an advanced look ahead limiter to provide absolute precision peak control This limiter has been designed to minimize processing side effects like IM distortion which are usually associated with limiters of this type This allows this limiter to sound extremely transparent This type of peak controller is used instead of a clipper because it does not generate the same high levels of harmonic distortion as a Clipper does This distortion would cause added difficulties in a coded audio system because the harmonics generated from the clipping action create added artifacts and workload in the encoder These are especially annoying at high frequencies There are tradeoffs in how each of these peak controllers sound when they are set to produce added loudness When a clipper is pushed the audio may sound edgier This is from the added harmonic content In contrast the look ahead limiter will sound busier or den
70. miting and decrease the level going to the following final limiter stages Conversely higher settings will raise the limit threshold causing less limiting but feeding more level into the following final limiter stages 46 Care is needed when adjusting this control because higher settings will cause less limiting to occur and the resulting uncontrolled peak energy will go to the following final limiter clipper stages instead Thus with this control you can artistically trade off dynamic limiting against brick wall final limiting clipping as each has its own sound As the limiter threshold is lowered made more negative the peak output level of the limiter is reduced The signal in that band won t hit the clipper as hard and you ll notice more action on the limiter bargraph for that band In fact instead of reducing the output of one of the audio bands in the Final Mixer section you could instead dynamically reduce the level in that band which also increases density in that band by lowering the limiter threshold When adjustments are made to limiter thresholds start by making adjustments in 0 5dB steps Reducing the threshold too much can cause the system to create an effect that sucks out the frequencies in that band Conversely the opposite raising the threshold will create an exaggerated effect by over enhancing certain frequency ranges as well as causing increased distortion since excessive levels from that band w
71. move to the target RTP gain reduction level Range is from 0 slow to 11 fast Makeup Gain sets the amount of gain to be filled in during quieter softer program passages The range is 0 0 off to 11 maximum This function is also program dependent and it interacts somewhat with the main Attack and Release time constants As the attack release times are modified the system also scales the Make Up Gain time constants Use less makeup gain for processing more faithful to the source material use more makeup gain for greater loudness and density a more compressed sound Filter Freq High pass Filter Frequency This drop down control adjusts the cutoff frequency of the built in high pass lo cut filter Available settings are Out not recommended 20 Hz 30 Hz and 40 Hz A setting of at least 20 Hz is suggested for most formats to keep sub sonic signals from affecting the processing performance Ratio This variable control adjusts the overall compression ratio of the Wideband AGC Available settings range from 2 1 to 10 1 Lower ratios will let more dynamics through to the following multi band AGC section and are preferred for most applications A good starting point for most popular music formats is 3 1 or 4 1 These will provide very smooth smart hand on the pot level control The 2 1 ratio is very gentle and may be preferable for classical music or jazz Higher ratios are useful prima
72. n Master De emphasis Right Trim Headphone Composite FM Options Analog Output Submenu Basic Tab 21 Master controls the output level of both the left amp right channel analog XLR jacks simultaneously Right Trim controls the level of the right channel only over a limited or 3dB range to correct left right balance issues in the following equipment This is normally set to 0 0 dB De Emphasis controls whether the analog XLR outputs when set to FM are de emphasized ON or not OFF Output Selection selects the processing channel assigned to the analog output XLR jacks FM HD or DJ AES EBU There are 4 similar controls in each of the AES Output 1 Level and AES Output 2 Level groups Preset Wizard Basic Advanced Master controls the AES EBU digital output level of both the left amp right channels simultaneously Note The Master control in the AES Output 1 Level group controls the output from the AES out 1 XLR jack only Similarly the Master control in the AES Output 2 Level group controls the output from the AES out 2 XLR jack only AES Output 1 Level Output Selection Analog Master De emphasis AES EBU Right Trim Livewire D Headphone AES Output 2 Level Master De emphasis Composite Right Trim controls the level of the right channel only over a limited or 3dB range to correct left right balance issues in the following equipment This is normally set to 0
73. n an unstable cart stand tripod bracket or table The product may fall causing serious damage to a child or adult and serious damage to the product Any mounting of the product needs to follow manufacturer s installation recommendations A Product and Cart Combination should be moved with care Quick stops excessive force and uneven surfaces may cause the product and the cart combination to overturn Servicing Refer all servicing of the product to qualified service personnel Damage Requiring Service Unplug this product from the AC wall outlet and refer servicing to qualified service personnel under the following conditions When the AC plug is damaged If liquid has been spilled or objects have fallen into the equipment If the product has been exposed to rain or moisture If the product does not operate normally following operating instructions If the product has been dropped or damaged in any way When the product exhibits a distinct change in performance This indicates a need for service Replacement Parts When replacement parts are required be sure the service technician has used replacement parts specified by the manufacturer or that have the same characteristics as the original parts Unauthorized substitutions may result in fire electric shock or other hazards Safety Check Upon completion of any repairs to this product ask the service technician to perform safety checks to determine that the p
74. n of the symptoms problems ready for the technician e All units being returned to for service MUST have a Return Authorization RA number assigned to them first Units that are returned without a RA number will experience delays in service e Return the Omnia in its original shipping carton if possible For best treatment shipping the Omnia in its original factory box protects it as well as possible Damage caused by improper packaging is not covered under your warranty Note To ensure prompt service the Return Authorization RA number must be written prominently on or near the shipping label on the box Via the World Wide Web The Omnia Web site has a wide variety of information that may be useful for product support applications information software updates etc The URL is http www omniaaudio com Via E Mail The customer service e mail address for Omnia is support omniaaudio com Via Phone Customer Support personnel are available in the Cleveland Ohio USA office Monday through Friday by phone at 1 216 241 7225 or via email between 9 00 A M and 5 00 P M Eastern Time After hours support 1s available 24 7 by phone at 1 216 622 0247 or via email If you are outside the U S A and non English speaking please contact the dealer you purchased your Omnia from first Shipping Information Telos Omnia 1241 Superior Avenue East Cleveland Ohio 44114 USA ATTN To the RA number obtained from Omnia Customer Servic
75. nce to obtain a certain consistent sound signature more bass less bass more mids etc 3 to reduce listening fatigue and create a more open cleaner sound that can be listened to comfortably for longer periods of time 4 Listen for a while then adjust and listen for a while again Try to avoid the temptation to continuously fiddle with adjustments just moments after getting the system on the air Remember that you should evaluate the Operation over time not moment to moment 5 While making changes to the system we recommend that you do not make hasty or radical changes Also do not make too many different adjustments all at once If too many parameters are changed at one time it is hard to determine which change made the difference you may hear That can be frustrating whether the change made your station sound better or worse Take your time In order for you to become comfortable with your new sound you should learn the limits of each control We suggest making changes in increments of no more than 0 5 dB or 1 dB or in 1 or 2 step increments Try turning different functions on and off Working this way you will be able to get a better feel for the sound that the Omnia 11 1s capable of producing on your station and with your programming 6 Use the sleep on it method Spend time adjusting and then listening and when the system gets to a point where it sounds good stop While making changes to processing there
76. nd coded audio broadcasts of the same program material such as the HD 1 digital channel or Internet simulcasts Please make sure that you have gone through Chapters 1 through 3 and that the Omnia 11 is installed in the rack and connected to a source of primary program audio before continuing with the rest of this chapter The Omnia 11 employs a conventional looking processing layout topology that at first glance appears very similar to our own Omnia 6 But that is where the similarity ends Each processing section in the Omnia 11 is much smarter than any previous processor so some change in conventional thinking about the adjustment of the processing parameters will be needed on your part if you want to delve in deeply while creating your signature sound But it is also entirely possible that once the Omnia 11 is set up properly for your system and the audio levels are properly adjusted you will find one of our included processing presets hits the spot and no further adjustment will be needed So the first thing to do as alluded to above is to make sure that all of the Input and Output settings are correct for your system and the levels for your selected inputs and outputs are adjusted properly Then it will be time to select a preset to start or stay with We will go over the basics in this chapter and then Chapter 5 will cover every available control or setting if needed NOTE You may initially feel that your air so
77. ngineering practice to allow one blank rack space immediately above and below the Omnia especially if equipment generating significant heat is located below the unit You may install 1RU 1 75 vented or solid rack panels to fill these spaces The processor should be installed into a properly grounded 19 equipment rack It is a good idea especially at transmitter sites to run a separate ground strap or braid from the Omnia 11 s chassis to a solid rack or station ground point Although no separate ground lug is provided the end of the strap or braid can be clamped under the Omnia s top cover using the Omnia s existing top cover screws AC Mains Power Omnia 11 utilizes an un switched EMI filtered IEC power entry module CAUTION TO PREVENT RISKS OF ELECTRIC SHOCK DISCONNECT POWER CORD BEFORE SERVICING Omnia 11 s automatic voltage sensing high efficiency switching power supply allows it to operate on AC mains voltages from 100 to 240 VAC and from source frequencies of either 50 or 60 Hz 6a a fl f x f k il i In the USA or Canada plug the provided IEC type AC power cord TD into the unit and then into a grounded AC outlet Outside of the USA you must use the appropriate power cord that complies with local electrical regulations 120 240 VAC 1 0A 0 5A 50 60 AC Power Connection Rear Panel Connections AES INPUT AES OUT i AES OUT 2 AES SYNC IN e le os oe hy ri 1 e n fo
78. o Omnia 11 Processing What you have before you is the result of over three years of intensive research and re thinking by Team Omnia of what an FM processor should and should NOT be doing to your precious program audio Things have changed A LOT in the years since the previous generation of FM processors was designed Newer music is often so pre processed already that the last thing it needs 1s more processing Now it s possible for the processor to be smart enough to know whether a program element is pre processed or not and act accordingly The Omnia 11 is able to do as little further damage as possible to already processed content such as a song from a modern hyper compressed CD while acting more aggressively on more dynamic less pre processed material New technologies have given us ways to design the processor algorithms much more interactively allowing us to instantly hear the results of changes This has led to previously unheard of ways to minimize distortion particularly IM Intermodulation distortion from ALL sections of the processing Omnia 11 s new algorithms allow the processor to output a much more natural and less fatiguing sound WITHOUT losing loudness And WHILE maintaining your consistent sound signature These improvements affect ANY format as the old saying goes From Bach to Rock and everything in between and beyond The Omnia 11 contains processing for both FM analog stereo transmission a
79. off This clipper operates on the entire baseband signal up to 53 kHz except for the 19 kHz pilot No matter how hard you drive the composite clipper you cannot clip the stereo pilot Embedded within the composite clipper is a newly designed phase linear low pass filter for superb SCA protection This filter removes clipping harmonics and prevents them from affecting the SCA and RDS region Please use the composite clipper sparingly We suggest no more than about 0 5dB and you may find that none is needed at all with the Omnia 11 FM Final Limiter Clipper Advanced Tab There are 4 variable controls and 1 Off On switch in the FM Advanced tab Preset Wizard Basic Advanced Bass Style This switch chooses between 2 available processing styles Dynamic and Fixed for the Omnia 11 s Bass Clipper The bass clipper is a special filtered and fully anti aliased clipper stage Bass Style Auto Sense ae e just for the bass frequencies Its job is to keep the bass out of the main clipper as much as possible ema reducing distortion while maintaining or increasing bass intensity and quality Dynamic This mode observes the set threshold but will automatically let the bass out if only bass is present increasing the impact of solo bass and kick drum while ensuring that it stays clean Fixed The bass clipper threshold mode is fixed so solo bass or kick drum will not be enhanced Clipper Menu Advanced Tab Bass Clip Threshold T
80. ols in each band sub group are allow you to set the timing parameters individually for any desired band Detail Enh ance When the Detail Master is turned on in the Basic tab the Offset control in each band allows you to control the amount of detail enhancement in each band Typically less detail enhancement is desirable in the LO HI and SH bands while more is generally used in the ML and MH bands 43 AGC Mixer Basic Tab oy The output of each of the 5 AGC bands is then summed together in a mixer Preset Wizard Basic Advanced There are 5 variable controls LO mix ML mix MH prega I mix HI mix and SH mix in the Basic tab for the Mixer that set the output level of each of the 5 AGC bands over a or 12dB range There are no Advanced tab controls for the mixer These controls can be used to set up some frequency balance contours EQ but be careful not to use extreme settings The output of the AGC mixer feeds the crossover of the Limiter section directly AGC Mixer Basic Tab Limiters Similarly to the 5 Band AGC section the Limiter section has 3 control groups Crossover AGC and Mixer The limiters differ from the AGCS in that the limiters work only on the peaks of the audio signal instead of the average There are 6 variable controls in the Basic tab and 2 drop down controls in the Advanced tab fe Limiters Crossover Basic Tab E KO The output of the 5 Band AGC mixer feeds the 6 Band Limite
81. ontain strange sounding artifacts that will imitate the inverse of what that codec will do Because of this the audio exiting the Omnia 11 may be unpleasant to listen to and will certainly be inferior to that which will exit the codec later on In other words what you hear at the output will bear no relationship to the audio quality that will be achieved after the audio has passed through the coding process Need a corollary to this It s like trying to taste a pizza while still in the grocery store staring at the raw ingredients that haven t been purchased yet 54 Appendix A Performance Specifications Omnia 11 FM All specifications are subject to change without notice Note Discrete I O measurements have been made in Bypass mode FM composite measurements have been made using the Proof of Perf preset General Audio Specifications Frequency Response Complies with the standard 50 or 75 microsecond pre emphasis curve within 0 5 dB 30 Hz to 15 kHz The analog left right outputs and AES EBU Digital outputs can be configured for flat or pre emphasized output System Distortion Less than 0 01 THD 20 Hz 7 5 kHz Second harmonic distortion above 7 5 kHz is not audible in the FM system Signal Noise Ratio gt 80 dB de emphasized 20 Hz 15 kHz bandwidth referenced to 100 modulation The measured noise floor will depend upon the settings of the Input and Output Gain controls and is primarily governed b
82. onverters Therefore it s possible for one type of output to fail without affecting the other Likewise a failure in the AES EBU driver section could result in the digital output being dead while the rest of the system is operational 3 If my unit fails to boot up normally can I try the compact flash software card CF card from another Omnia 11 that is booting normally No What is actually happening is that the processor board must be tied to the I O board s MAC address so that it can give the I O board an IP address using dhcp 60 If we did not tie them together and there were multiple O11 s on a network the I O board could get addresses from the wrong units and nothing would work Also the O11 could start handing out IP addresses to other devices on the network To exchange presets or IO configs between units the web interface can be used for upload and download If you need a new card for a unit 1t needs to contain a firstboot image this requires the Ethernet cable to be unplugged for one boot while the processor board acquires the I O board s MAC automatically An existing card can be reset to the firstboot state by issuing the command reset_firstboot in an ssh session Please contact Omnia Support for assistance 61 Obtaining Service e Before contacting Omnia Customer Support please have the serial number of the unit located on a small barcode sticker on the rear panel in this format 0279xyyyy and a descriptio
83. or hold takes place is controlled by the setting of the Gate Threshold control Higher settings cause the gate to activate at higher audio levels causing more overall gating In most applications this control should be adjusted between about 30dB and 40dB to cause gating action to occur when the input audio falls about that much below nominal The action of gate also prevents noise rush up during periods of no or quieter audio or during pauses in speech NOTE Gating activity is indicated by a bright yellow outline around the blue gain reduction meter and may show more gating activity than you may be used to on conventional processors In fact it may look like the WB AGC is gated most of the time This is normal It is due to the Omnia 11 s new smart windowed gating algorithms see Window in the Advanced tab section on the next page for more info Don t worry This WB AGC will intelligently ride gain for you over a wider range with less side effects than ever before keeping the following processing sections nicely in the sweet spot Attack The attack control adjusts how fast the AGC responds to sudden increases in audio level and higher numbers equate to faster response times Faster attack times reduce the transient nature of the input audio while slower attack times improve it Omnia 11 s WB AGC is designed to work effectively with slow attack times In fact be careful about using extremely fast attack times because these may cause
84. ory presets accessible from the Preset tab in the Menu Area of any ADJ mode screen except Input or Output Adjust the CLIP Drive control for each one as described below 10 user presets are shown per screen so use the PAGE UP and PAGE DOWN buttons to see more available presets a Wizard ore ces To instantly put a preset on the air simply touch its name in the Preset list TripleAB1a Save Current To see more presets touch the PAGE UP or a anne PAGE DOWN buttons NO_MBAGCs Start by trying the various presets while listening Delete to your typical program material and taking note of their differences Classicali O_Test VinylOpenia Then try to decide on one to start with and listen to it on as many different types of radios as you can VinylOpenib TheHitFactoryFB PAGE UP TheHitFactoryFF VinylPower PAGE DOWN Preset Tab 30 Saving User Presets Once you have made a change to any parameter such as the CLIP Drive or Voice Quality controls discussed below it is a good idea to save those changes so they will not be lost The factory presets cannot be over written so a new user preset must be created This is done from the Preset tab using the Save Current As button When you touch Save Current As the on screen keyboard will pop up Use the on screen keyboard to type a name for your new preset While up to 43 characters can be shown for each preset in the preset list window try to keep the preset names short and descri
85. over the loudness vs distortion tradeoff along with the Auto Sense control in the Advanced tab It is advisable to make minor changes primarily as the loudness fine tuner Be careful There is a lot of available power here We suggest that each time you try a new factory preset you adjust the Clip Drive as follows Start with the default setting for a preset and adjust it down in 0 5 dB steps until the loudness just drops below the desired level and then bring it up slightly from there This should be the optimum setting for your station and market 48 The Voice Quality control adjusts how much the Omnia 11 will reduce the clipping automatically when mono voice transmission is detected This really helps to keep voices clean and full yet still loud and punchy A setting of 0 0 effectively turns this feature off Typical settings will usually be in the 0 5 to 1 0 dB range If you cannot get certain voices clean even when using this feature that voice may be very asymmetrical Make sure that the Phase Rotator switch in the Wide Band AGC menu is turned on or that phase rotation is enabled in your microphone processing if available NOTE For optimum performance of this feature make sure the left and right channels feeding the Omnia 11 are very well balanced Comp Clip Drive This controls the drive to the DSP based composite clipper in the Stereo Generator in dB A setting of 0 0dB is the same as the clipper being
86. pply heat sinks are connected to the AC power line Avoid these areas whenever the AC power cable is attached to the Omnia Never attempt to make measurements when the power supply s safety cover is removed When reinstalling the top cover make certain that all thirty screws are replaced and that they are tightened to a snug fit Operating the unit with its cover removed or without all of the retaining screws will void your warranty and may compromise the ability of the Omnia to operate in high RF environments Troubleshooting FAQ 1 The unit is totally dead What should I check first First double check that the unit is receiving AC Line power Check the line cord and its connection at both ends Is the line cord plugged into an outlet that has AC power Are the blue 11 and the ring around the jog wheel illuminated If the unit has power but no audio is there an audio input level showing Is there an audio output level Is there a power indication Is the LCD screen blank scrambled or not illuminated Symptoms like these might indicate a power supply problem If you wish to examine the power supply be aware that it 1s switching type and therefore requires a load in order to start up and operate properly Voltages measured when the power supply is not connected to the Omnia s circuitry may not be correct 2 The unit has power but there is no audio output although the processing bargraphs are working What should I check The first
87. pre emphasis is used The most commonly used values of pre emphasis ahrechold are 50 and 75 us microseconds For North and Livewire South America 75 us is used In Europe Australia and New Zealand 50 us is employed The factory default pre emphasis setting is 75 us The pre emphasis selection affects the operation FM Options of the audio processing and is applied to the composite discrete AES EBU digital and Livewire FM channel outputs The HD channel outputs are never pre emphasized BS 412 Pre emphasis Analog Engage AES EBU Headphone Diversity Delay Composite 0 0 00 0000 FM Options Submenu Basic Tab The pre emphasized signal at the Left Right Analog XLR AES EBU digital and Livewire outputs can be restored to flat if needed such as for monitoring by the De Emphasis control in each of the respective output groups There are three choices for pre emphasis in the drop down control Off 50 us or 75 us Be sure to select the pre emphasis that is correct for your country Note Normally the Off selection under the Pre emphasis options would not be used in conventional FM transmission applications but is provided in instances where processing of a flat signal is desired One example would be when preprocessing prior to a satellite uplink in distributed radio networks ITU BS 412 Power Limiter In certain parts of the world the average multiplex signal power must be controlled to reduce adjacent channel interf
88. ptive if possible If you should want to delete a user preset factory presets cannot be deleted touch the Delete button and a new window opens containing a list of all of the previously saved user presets 10 user presets are shown per screen so use the PAGE UP and PAGE DOWN buttons if needed to see more user presets When you make new changes to an existing user preset touch the Save Current button to save the new changes CLIP Drive It is important to adjust the CLIP Drive control Not the Comp Clip Drive control located in the Basic tab of the FM menu accessed by touching the FM Icon button for each preset that you try Preset Wizard Basic Advanced Since every air chain and market is different this control should always be adjusted to as low a Drive Comp Clip Drive setting as possible for the level of loudness needed You can think of this control as adjusting Voice Quality the primary loudness vs distortion tradeoff Try adjusting this control down in 0 5dB steps until the loudness just falls off too much then bring it up a bit from there That is the correct setting for you for the currently selected preset On some presets you may need to turn it up instead of down This is OK too Adjust it up in the same 0 5db steps until you achieve the loudness required or the sound becomes too distorted whichever comes first If the distortion comes first you probably need to try a different preset CLIP Menu Basic
89. r drive needed to get that sound Try it A setting of 0 0 effectively turns detail enhancement off NOTE When Detail Enhance is turned on there are also individual settings for each band in the Advanced tab Be careful not to apply too much Detail Enhance to any one band as background noise can be brought up during very quiet passages or silence Also typically Detail Enhance is not applied or very little 1s applied to the LO and SH bands due to the greater chance for rumble and noise to be brought up That s OK because the real power of Detail Enhance lies in the midrange frequencies Low Delay DJ Monitor Output The new low latency DJ Monitor Output features an analog input to output delay of only about 8ms this is actually slightly less than the Omnia 6EX so it is perfect for DJ headphone monitoring It also has a nicely compressed sound that DJ s will like The normal main output s latency is 36 5ms too much for headphone monitoring If your station is using a profanity delay ahead of the Omnia a separate processor such as our Omnia ONE Studio Pro can be used on your pre delay feed to give the DJ s a comfortably processed headphone feed The DJ output has its own crossover and 3 Band processing The DJ output can be routed to any of the Omnia 11 s outputs in the Output menu 41 Preset Wizard Basic Advanced LO AGC DJ Mix ML AGC DJ Mix AGC MH AGC DJ Mix oe N DJ Mix HI AGC DJ Mix DJ Lim SH A
90. r section through its own crossover dine des aaa Each of the 6 Limiter bands LO ML MH HI and SH SL Drive HI Drive has a Drive control LO Drive SH Drive Each of these controls the input level to the respective limiter band over a range of or 12dB and therefore ML Drive how far it will be driven into gain reduction Higher settings increase the amount of density in the band MH Drive You may have noticed that there are actually 2 ways to control levels that are getting to the limiters the AGC Mixer and the Limiters Crossover Please use care that similar bands are not boosted or cut too much in either or both of those sections Limiters Crossover Menu Basic Tab 44 Limiters Crossover Advanced Tab Preset Wizard Basic Advanced P LO XO Freq SL LO SL XO Freq ML MH HI SH Limiters Crossover Menu Advanced Tab Limiters Metering Summary Tab Summary Detail Analysis Limiters Metering Screen Summary Tab 45 The 2 drop down controls in the Limiters crossover Advanced tab allow you to modify the crossover frequency points of the LO LO to ML and SL SL to LO limiter bands The ML to MH MH to HI and HI to SH crossover points are not adjustable The available LO crossover settings are 320 Hz and 420 Hz The available SL crossover settings are 200 Hz 175 Hz or 110 Hz Similarly to the AGC gain reduction meters the 6 limiter band gain reduction meters show the amount
91. r us to offer you our follow up as we present Omnia 11 A lot of anticipation awaits Omnia 11 and our goal was to climb the charts again with a bullet By now you re heard or read all of the stuff from the marketing gang So I ll spare those details But it is important to note that aside from the effort undertaken to create Omnia 11 there s a tremendous team who deserve recognition for this product As said in other communiqu s Omnia isn t just Frank anymore Now you get to hear and see the results of that statement Omnia 11 resides on a whole new firmware platform which incorporates both DSP and an industrial grade quad core PC I believe this is a first in the processing realm In order to do this the Omnia team worked extremely hard to assemble a platform that is powerful flexible and ready for the future It s my view that our platform design and firmware selection will create possibilities the other guys are still dreaming about So in addition to a great sounding processor you also possess a device that is designed for the ever changing technical landscape we find in broadcasting today To that extent Rob Dye Bill Mohat Ed Zmuginsky Corny Gould and Mark Manolio are to thank for their creativity Additionally there are quite a number of end users who shared their ideas with us and we re extremely grateful for the input from everyone I ve always felt that competitive quality sound is what ultimately sells a processor not the
92. re tamed There are 8 available adjustment frequencies between 13kHz and 1kHz Sensus Menu Basic Tab 32 What is Sensus First we will present some important information about our unique Sensus technology that will allow you to maximize the audio quality and minimize the audible artifacts of the codec process Overview Until now digital signal processing has been a more precise numeric implementation of well known analog methods Even relatively recently designed digital audio processors couldn t veer too far from the comparatively simplistic concepts that analog dynamics processing had utilized until now Our new Sensus technology takes digital dynamics processing into a completely new frontier Instead of the two dimensional static processing architecture of the past Sensus enables the audio processor to modify its own architecture in real time and in response to ever changing program content Simply stated Sensus has the ability to sense what must be done to a signal in order to best tailor it for the following codec As program content changes it rearranges the algorithms to accomplish this goal The uniqueness of the Sensus technology makes it highly suitable not only for codec pre conditioning or provisioning but also for a range of other highly specialized signal processing challenges The following is a discussion of how Sensus technology can be applied to a coded audio environment Code
93. reached there is nothing more that needs to be done You may touch anywhere on a blank area of the screen to de select the control if you wish to avoid any accidental operation of the control gt If the input source s audio is not well balanced you can touch to highlight and adjust the Right Trim control located just below the Master you just adjusted This will adjust the right channel s gain only over a range of or 3dB relative to the gain setting of the left channel All of the Omnia 11 s variable controls and Off On switches are set in a similar fashion by using the touch screen to highlight the control to be adjusted then rotating the jog wheel to adjust the control All drop down list controls are adjusted with the touch screen only Note Altering any processing or gain parameter will instantly be reflected in a change in the Omnia 11 s output characteristics because all adjustments occur in real time Therefore any adjustments you make will be instantly heard as they occur 12 Processing Activity Metering Gain Reduction Meters Touch the AGC icon button to bring up the multi band AGC metering menu screen Setup Input Wide Band Limiters Output lt Advanced l Basic i Drive Attack Offset 3 Od 0 0 Gate Master Release Offset 1 2 0 0 Sync Detail Master P i 4 0 6 0 ZITTA Detail Analysis Wizard AGC Metering Menu Screen AGC Gain Reduction Meters The AGC gain reduction me
94. reen Calibration Calibrate Here you can select the timeout duration for the LCD backlight and calibrate the touch screen Backlight timeout choices are 5 10 or 15 minutes of inactivity To calibrate the touch screen touch the Calibrate button and follow the on screen instructions You will be asked to touch the center of a target in 9 screen positions When done click the Accept button in the lower left corner of the screen 18 Input Output Configuration and Metering It is of the utmost importance that the Omnia 11 be properly configured for the system that it will be used in This will ensure optimum performance of the entire system maximum quality and loudness over the air Input Configuration All Input configuration settings can be found in the Basic tab on the Input screen If not there already touch the Input icon button to display the Input screen and then touch the Basic tab in the Menu area if it is not already selected 192 168 2 199 CGSmooth AES EBU I FM di TATO Input l Wide Band Limiters Output Master Master Master 0 0 0 0 0 AES EBU This is where you choose your input source set input levels input mode and overall polarity If you have not done so already the instructions for properly setting the input levels can be found in Chapter 2 on Page 12 Input levels can be adjusted separately for Analog AES EBU and Livewire inputs The Input Mode drop down control allows you to select fro
95. rily for talk programming or anywhere there is a desire to have tighter control over very dynamic program material and or a more processed sound NOTE Higher ratios can cause the WB AGC to overreact on denser program material such as modern popular music especially with faster attack times and slower release times so use with caution Keep in mind that there is another 5 Band AGC section that follows so more gentle control at this stage is normally preferred 37 ENH Basic Tab Touch the ENH Enhance button to display the controls for the Omnia 11 s bass and stereo enhancement functions There are 4 variable controls located here Deep Bass This controls the amount of deep bass enhancement The deep bass range includes kick Preset Wizard Basic Advanced Deep Bass Air Enh drum and low toms as well as low organ pedal notes bass synthesizer and the lower notes on the Phat Bass Stereo Enh bass guitar A setting of 0 0 effectively turns bass enhancement off The smart bass enhancer Warm Bass will add bass to bass shy material without overdoing it on material that already has enough bass Phat Bass This control adds additional bass enhancement that can give your station a phatter sound especially on radios with small speakers that lack actual deep bass This is a brand new Phat Bass algorithm that fattens things up without muddiness Enhancers Menu Basic Tab Warm Bass This control helps compensate
96. roduct is in safe operating condition Cleaning Do not use liquid cleaners or aerosol cleaners Use only a damp cloth for cleaning HAZARD WARNING LABELS WARNING SHOCK HAZARD DO NOT OPEN AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE ANY COVER OR PANEL NO USER SERVICABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THE OMNIA TO RAIN OR MOISTURE The Exclamation Point symbol within an equilateral triangle alerts the user to the presence of important operating and maintenance servicing instructions in product literature and instruction manuals The Lightning Flash with Arrowhead symbol within an equilateral triangle alerts the user to the presence of non insulated dangerous voltages within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock WARNING This equipment generates uses and can radiate radio frequency energy If not installed and used in accordance with the instructions in this manual it may cause interference to radio communications The device has been formally submitted for testing and found to comply with the limits for a Class B computing device pursuant to subpart J of Part 15 FCC Rules and has been designed to provide reasonable protection against such interference when operated in a commercial environment Oper
97. rtical bargraph marked ST in the Meter Area The system should be initially auditioned using light amounts of stereo enhancement with an initial setting of 4 to 6 recommended as a starting point The overall stereo sound field will appear wider and be much more consistent sounding between program sources The smart Stereo EXP algorithm turns off when a mono program source is present 38 AGC The 5 Band AGC section works on the average level of the program material and can act both as a dynamic equalizer and as a compressor leveler depending on settings and the dynamics in the program material itself There are 3 control groups in the 5 Band AGC section XO AGC and Mixer ETN KC The output of the Wide Band AGC section feeds the 5 Band AGC section through a crossover There are 5 variable controls in the Basic tab for the AGC crossover and 2 drop down controls in the Advanced tab AGC Crossover Basic Tab Preset Wizard Basic Advanced LO Drive SH Drive ML Drive HI Drive AGC Crossover Menu Basic Tab AGC Crossover Advanced Tab Preset Wizard Basic Advanced MH XO Freq LO XO Freq AGC Crossover Screen Advanced Tab 39 Each of the 5 AGC bands LO ML MH HI and SH has a Drive control Each of these controls the input level to the respective band over a range of or 12dB and therefore how far it will be driven into gain reduction Higher settings increase the amount of compression
98. section as Preset Wizard Basic Advanced too much level from any particular band could cause an excessive amount of clipping distortion to that range of frequencies SL mix HI mix Adjusting all 6 controls an equal amount is virtually the same as adjusting the Clip Drive control If your desire is to provide some custom EQ to the sound it is better to perform that function using the XO controls instead of the Mixer controls Like the Limiter Threshold controls the final Mixer is mainly for minor fine polish to the overall sound Adjustments in this section must be done with extreme care Limiters Mixer Menu Basic Tab FM FM Final Limiter Clipper Basic Tab The Ultra LoIMD main clipper is the Omnia 11 s final limiting stage for the analog FM channel Preset Wizard Basic Advanced Drive Comp Clip Drive Here is where the Omnia 11 s loudness and quality advantage is most evident This new extremely Voice Quality powerful new algorithm utilizes a great amount of DSP power and is designed to reduce clipper induced IM distortion to the bare minimum across the entire audio bandwidth providing new previously unheard of levels of clarity and loudness with minimal side effects Touch the CLIP button to access the 3 variable controls located here Clipper Menu Basic Tab The clipper Drive control controls the depth of clipping in precise 0 1dB steps over a 6 dB range This is the primary control
99. ser when more limiting is applied The Drive control controls the depth of final limiting The amount of gain reduction occurring in the final Preset Wizard Basic Advanced Drive limiter can be monitored on the Process metering bargraph screen Note however that this meter Release cannot show extremely fast action in the limiter so Bass your ear must be the final judge Sensus Release The release time control for the final limiter Limiter adjusts its overall release time profile Lower numbers are slower overall and higher numbers are faster Faster release times will result in more loudness but sound more squashed HD Final Limiter Menu Basic Tab Sensus Basic Tab There are 2 variable controls in the Sensus menu Sensus Level and Sensus Freq uency Lina bela ee der Sensus Level Sets the amount of codec conditioning Sanus level to be applied to the audio Increasing the setting adds more SENSUS control Extreme settings those Sensus Freq high enough to cause noticeable dulling of the Bass program material are unnecessary and will not further improve the audio quality through the codec Limiter Sensus Freq uency This sets the range where the SENSUS function begins its magic For example a setting of SkHz will program the SENSUS algorithm to focus on frequencies of 5kHz and higher You should start with the 13kHz setting and then select lower frequency settings until any coding artifacts a
100. ters in the metering area show the activity of the 5 AGC automatic gain control processing bands within the Omnia 11 The leftmost meter shows the activity in the LO low band followed by the ML mid low MH mid high HI high and SH super high bands The Low bands control the bass part of the audio spectrum the Mid bands the midrange and the Hi bands the treble The 4 currently selected crossover frequencies are also shown near the top of and between the bargraphs The amount of gain reduction occurring in each band is indicated by a solid blue bar that drops downward from the top Gating gain freezing of each band is indicated by a bright yellow outline around the blue bar The gain reduction of the AGCs recover to a resting gain setting which coincides with the RTP Return to Platform levels set for each band The AGC meters operate relatively slowly since the AGC s job is to control overall levels and to provide a gentle dynamic EQ to moderate compression effect preparing the audio for the peak controlling sections that follow The limiter meters operate faster because they work on the peaks in the audio signal All of the details regarding the AGC and Limiter sections are covered in Chapter 5 13 14 Chapter 3 Setting Up for Your System Setup Mode There are 3 setup configuration screens in Setup mode Network Livewire and System configuration The currently running system software version can also be found in t
101. th other equipment or materials or from any other cause In order to invoke this Warranty Omnia must receive notice of a warranty claim within the above stated warranty period and Omnia must authorize warranty coverage If Omnia authorizes the performance of warranty service the defective Product must be delivered shipping prepaid to Omnia 1241 Superior Avenue East Cleveland Ohio 44114 Omnia at its option will either repair or replace the Products and such action shall be the full extent of Omnia s obligation under this Warranty After the Products are repaired or replaced Omnia will return them to the party that sent the Products and Omnia will pay for the cost of shipping Omnia s authorized dealers are not authorized to assume for Omnia any additional obligations or liabilities in connection with the dealers sale of the Products Omnia products are to be used with registered protective interface devices that satisfy regulatory requirements in their country of use 63 64 Appendix C Remote Control and Software Update Procedure Remote Control Back to Main Menu 192 168 2 75 lt none gt Input Wide Band Analysis CGSmooth Livewire 1 FM T sf i Limiters Output Advanced LO Drive SH Drive 0 0 1 0 ML Drive 0 0 MH Drive 0 0 HI Drive N n 0 5 Note that this remote requires Java TM 2 Platform Runtime Environment JRE version 1 4 or higher If you do not have the required version Th
102. the current software It will be made available to you in a free future software update Input Metering There are 2 horizontal stereo input meters in the Summary tab Note the Detail and Analysis tabs are not yet implemented here Summary Detail Analysis Primary Input Secondary Input Input Metering Screen Summary Tab Primary Input shows the real time peak input level of the input selected with the Input Source control in the menu area Secondary Input will show the real time peak input level of the input selected as the Failover Source once that feature becomes available in a free future software update Please see the Proper Setting of Input Levels section on Page 12 for full details on the setting of the input levels 20 Output Configuration All Output configuration settings can be found in the Basic tab on the Output screen Output metering can be found in both the Summary and Detail tabs See Output Metering below There are 6 selection buttons on the left side of the Menu area 5 of these group the output controls that are displayed by output type and a 5 button brings up the FM Options menu Touch the Output icon button to display the Input screen and then touch the Basic tab in the Menu area if it is not already selected The controls will be described by group below Analog There are 4 controls in the Analog Output Level group Preset Wizard Basic Advanced Analog Output Level Output Selectio
103. those channels will need specialized dynamics processing capable of creating great sound regardless of program content and bitrate They will need Sensus With Sensus the innovative algorithm it is now possible to have consistently high audio quality with a minimum of codec induced artifacts Sensus creates highly listenable audio lacking the dull muffled swirley sound usually associated with codecs operated at extremely low bitrates So what s so smart about Sensus The fact is Sensus is smart In real time it predicts program content that will be troublesome for the codec and by modifying it s own algorithms can make appropriate changes to the program material before it ever reaches the codec The result is consistently high audio quality through a codec based system even at very low 18kbps 21kbps bitrates The human voice is very difficult to code at low bitrates without quality and intelligibility suffering But Omnia 11 with Sensus can generate clean smooth crystal clear audio that s consistently great sounding no matter what the codec or bitrate 1s Important Note 1 It is extremely important especially for bitrates below 96kbps not to directly audition the HD output of the Omnia 11 for audio quality without the audio being first routed through a codec Why The processed HD output has been pre corrected for the characteristics of the following codec and because of this the audio may c
104. to pin 1 Additionally a 0 01uF capacitor connected between XLR pin 1 and the chassis terminal may be helpful in some instances RoHS COMPLIANCE The RoHS Directive stands for the restriction of the use of certain hazardous substances in electrical and electronic equipment This Directive bans the placing on the European market of new electrical and electronic equipment containing more than agreed levels of lead cadmium mercury hexavalent chromium polybrominated biphenyl PBB and polybrominated diphenyl ether PBDE flame retardants Omnia 11 FM is in compliance with the EU RoHS Directive ROHS COMPLIANT lead free Manual Update Notification Audio Processing a unique art form that we take very seriously As part of our dedication to the science of audio processing we will continue to improve and update the Omnia product and its documentation based on our ongoing research real world field experience and the valued input from our many thousands of loyal customers We strongly encourage our customers to visit our Omnia website for product enhancement announcements software updates updated user manuals and customer support bulletins The following URLs have been included for your convenience Manual Updates http omniaaudio com manuals Frequently Asked Questions FAQ http i omniaaudio com fags Tech Tips amp Support Bulletins http omniaaudio com tips Software Upgrades amp Remote Software http omniaaudio
105. tput LO Drive SH Drive 0 de 0 ML Drive MH Drive HI Drive Note that this remote requires Java TM 2 Platform Runtime Environment JRE version 1 4 or higher If you do not have the required version The latest version can be downloaded here Scroll down to Java Runtime Environment JRE and press the download button Note The remote uses the following network ports that will need to be opened forwarded through any routers that may be present in the network The normal http port 80 port 93 port 4545 amp port 4546 At the top left there 1s a clickable link Back to Main Menu that is used to exit from this remote control screen to the remote s main menu At the bottom there is a reminder that Java Runtime Environment must be installed on your computer in order to see the remote metering and control screen This reminder will be all you see if Java is not properly installed on your computer If audio 1s present on the inputs you should see the meters moving along with the audio A small amount of flickering is normal as the meter information is updated but if it 1s excessive or the meters are not moving smoothly check your network connection and or update your video card drivers or settings If you are connecting from behind a router firewall be sure to forward the TCP ports used for the control and metering data to the Omnia s local IP address The factory defaults are Ports 4545 amp 4546 respectively
106. ttings will allow more thump through Lower settings provide a rounder bass sound Note that even at higher settings there will never be any artifacts or clicky bass sound If more of a clicky bass sound is desired turn down the Bass Clip Smooth control instead FM Channel Clipper Metering Summary Detail Analysis The FM channel s metering shows you the activity for the Bass Clipper Main Clipper and Auto Sense These are gain reduction meters similar to those in the Limiter section and read from the top down ea eee Note the reduced range of the Auto Sense meter which is 6dB instead of the 20 dB of the Bass and Main clip meters Clipper Metering Summary Tab HD HD Final Limiter The Omnia 11 s HD channel shares the same processing as the FM channel up through the 6 Band Limiter stage The HD channel gets its own final mixer bass enhancer and final limiter plus Omnia s exclusive Sensus technology for minimizing codec artifacts at lower bitrates HD Channel Limiters Mixer Baa Basic Tab Preset Wizard Basic Advanced Shown at left is the final mixer that sums the 6 limiter bands and sends the peak limited audio to the HD final SL Mix HI Mix limiter stage gt n Care should be used when adjusting this section as too Bass much level from any particular band could cause an excessive amount of final limiter activity to that range of frequencies Limiter That said you can use th
107. u re probably in a hurry to begin using your new Omnia 11 If you have technical expertise and previous knowledge of audio processor fundamentals using our 2 page Quick Start Setup Guide below will get you up and running as quickly as possible Please refer to the illustrations and user interface overview below to become familiar with the location of the various controls and connectors associated with the installation and then follow the steps on the next page to proceed with the installation Headphone Jack Headphone Level Control Jog Wheel Icon Buttons Tabs Touch Screen LCD Display Metering Area Menu Area Sub Group Buttons Front Panel User Interface Overview Touch the Icon buttons near the top of the screen to select the section of the processor to view and adjust At the top of both the Metering Area and the Menu Area are tabs that organize the meters and controls into smaller groups Touch the tab for the desired group to bring up the meters and controls for that group Additionally any sub groups of controls in a tab if any are indicated by small buttons on the left side of the Menu Area Touch the desired button to bring up the controls in that sub group To select a variable control in the Menu Area for adjustment touch it to select it it will be highlighted in an alternate color when selected then rotate the Jog Wheel to adjust it in real time No additional confirmation touch 1s needed Note The Jog Wheel s push swit
108. und with Omnia 11 is somewhat less bright than with your older processor Given that the Omnia 11 is set up correctly for your system this is generally because distortion generated in the old processor was actually creating a false brightness to the sound With Omnia 11 you are actually hearing all of the natural treble that is in the program material on the air quite possibly for the first time 29 Where to Begin We strongly suggest removing or bypassing any other audio processors in the air chain ahead of Omnia 11 If you are using a front end AGC such as the Compellor ahead of your STL use it only for overload protection and not with any AGC activity These additional AGC devices can conflict with or reduce the effectiveness of the Omnia 11 s new highly effective Wideband AGC Presets Omnia 11 1s equipped with a selection of factory presets that can be used to instantly configure the processing for common applications The currently loaded preset is displayed in the Status Bar just above the Limiters icon button Date amp Time IP Address Fault Indicator I O Configuration Active Preset Active Input Source Status Bar Some of the presets have format based names Do not take these names too literally It is entirely possible that you may like a preset named Oldies or like it enough to use it as a starting point for your Adult Contemporary station The best way to begin is to actually try all of the fact
109. vel for a time the RTP feature takes effect see below The level at which this freeze or hold takes place is controlled by the setting of the Gate Threshold control Higher numbers cause the gate to activate at higher audio levels In most applications this control should be adjusted between about 1 0 and 2 0 The action of gate also prevents noise rush up during periods of no audio or during pauses in speech Lower settings will also allow more dynamic EQ activity depending also on the Syne setting Lastly are the Sync and Detail Master controls Sync This controls the amount of adjacent band syncing in the 5 Band AGC relative to the middle MH band A setting of 0 0 dB provides maximum sync between the bands At this setting almost no dynamic EQ effect will take place A setting of 2 0 dB will allow 2 dB more independence in the immediately adjacent band and 4 dB in the second adjacent bands Use lower settings along with lower settings of the Gate Thresh controls to get more dynamic EQ effect Use higher settings to preserve the frequency balance of the original program material Detail Master This is an overall control that adjusts the amount of detail enhancement in all 5 processing bands simultaneously Detail enhancement gives a lift to lower level program material that can otherwise get lost with heavy processing In fact using detail enhancement can allow you to back off the amount of overall limite
110. y adjust the delay time in milliseconds and microseconds SCA IN LVL Control on Rear Panel The SCA input level control is an analog trimpot and does not appear in the menu This trimpot is located just above the SCA Input BNC jack on the rear panel A small flat blade screwdriver will be needed to adjust it Signals input to the SCA jack are simply mixed into both composite outputs through the trimpot The gain range is from 0 034 29dB to 1 35 2 6dB At the lowest gain setting you can feed ita 10V SCA signal and get 8 6 injection on a 3 6V composite output setting At the highest gain setting you can feed it a 0 25V SCA signal and get 8 6 injection on a 3 6V composite output setting The composite 9 pilot should be 3 6 V p p in these cases The SCA adds to this making the total higher and the SCA 8 6 of the total Output Metering Summary Detail Analysis Summary Tab FM OUTPUT There are 2 stereo output meters in the Summary metering tab HD OUTPUT FM OUTPUT shows the real time peak output level of the FM channel before the output level controls referenced to the maximum output level of 0 dBFS Normally these meters will be peaking all the way up near 0dBFS when the metered channel is active These can be used as a quick way to check that the FM output channel is active internally Output Metering Screen Summary Tab 26 HD OUTPUT shows the real time peak output level of the HD channel before the
111. y dynamic range of the Crystal Semiconductor CS5361 A D Converter which is specified as gt 110 dB The dynamic range of the internal digital signal processing chain is gt 144 dB Stereo Separation Greater than 65 dB 20 Hz 15 kHz 70 dB typical Crosstalk gt 70 dB 20 Hz 15 KHz System Latency 36ms FM channel as measured from the analog inputs through the composite MPX output Composite Outputs Source Impedance 5 ohms or 75 ohms jumper selectable Single ended and floating over chassis ground Output Level OV to 10V in 0 05V steps software adjustable D A Conversion Texas Instruments Burr Brown PCM1798 24 bit sigma delta converter Configuration Two electrically independent outputs Software based level adjustment Load Impedance 50 ohms or greater load is suggested Pilot Level Adjustable from 4 0 to 12 0 in 0 1 steps and OFF Pilot Stability 19 kHz 0 5 Hz Signal to Noise Ratio 85 dB typical 75 uS de emphasized 15 kHz bandwidth referenced to 100 modulation Distortion lt 0 02 THD 20 Hz 15 kHz bandwidth 75 uS de emphasized referenced to 100 modulation 55 Connectors Analog Audio Input A D Conversion Connectors Stereo Separation gt 65 dB 30 Hz 15 kHz Linear Crosstalk gt 80 dB main to sub or sub to main channel referenced to 100 modulation Non linear Crosstalk gt 80 dB main to sub or sub to main channel referenced to 100 modulation 38 k

Download Pdf Manuals

Related Search

Related Contents

FL-50R 取扱説明書    Rangemaster Professional + 100 FX Dual Fuel  MX-2300N/2700N Operation-Manual IT  76201507LV_PI Travabon E Aufl 3.qxd  Technicolor - Thomson DPL4000 User's Manual  F - Palazzetti  Meister Telemeter  Lincoln Electric PRO 100 User's Manual  

Copyright © All rights reserved. Failed to retrieve file