Operator manual (pdf, en)

Transcription

Omnia.9
All you can imagine. And more.
Installation & User’s Guide
Written by Jim Kuzman, Telos Alliance Technical Writer
Version 0.56.02 Revised February 7, 2014
Table of Contents
Table of Contents
Getting the Most From This Manual
Page 3
Chapter 1: The Omnia.9 Story
Page 5
Chapter 2: Quick Startup Guide
Page 8
Chapter 3: General Processing Advice
Page 12
Chapter 4: Home Screen & User Interface
Page 15
Chapter 5: Reading the Processing Meters
Page 20
Chapter 6: The Home Menu
Page 23
Chapter 7: Input Source Audio Menu
Page 25
Chapter 8: Undo Menu
Page 29
Chapter 9: FM Menu - Processing for FM
Page 40
Chapter 10: FM Menu - Processing for ITU-R BS.412 / MPX Power Limiting
Page 69
Chapter 11: FM Menu - RDS
Page 73
Chapter 12: FM Menu - MPX Inputs
Page 81
Chapter 13: FM Menu Meter Options
Page 85
Chapter 14: Studio Processing Menu
Page 90
Chapter 15: HD Processing Menu
Page 93
Chapter 16: Streaming Processing & Encoding Menu
Page 98
Chapter 17: Monitor Output Menu
Page 111
Chapter 18: System Menu
Page 123
Chapter 19: Getting the Sound You Want
Page 150
Chapter 20: Factory Presets
Page 154
Chapter 21: NfRemote Client Software
Page 161
Chapter 22: Frequently Asked Questions (FAQ)
Page 171
Chapter 23: Signal Path Diagrams
Page 179
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Page 193
2
Getting the Most
From This Manual
If you read nothing else, read this.
3
Getting the Most From this Manual
Let’s be honest about a few things right up front:
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chapters and their contents in a manner that duplicates the menu structure of the front panel from
the big picture (the Home Screen) down to every individual control.
R This is a whopping big document.
R Your time is valuable and limited.
While we’d love for everyone to read this manual cover-to-cover and fully understand all of what Omnia.9
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virus-plagued laptop from that sales guy (again). Or the wireless mic that the intern backed over with the
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broadcasting.
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I When you’re done here, go to Chapter 2, the Quick Start Guide. This is bare bones stuff
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I Read Chapter 22, the FAQ section. Most users have the same or similar questions. We’ve
attempted to answer those here.
I Read Chapter 3, General Processing Advice, especially if you don’t consider yourself to be a
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We encourage you to share it with them.
I Read Chapters 4 and 5 - they’ll get you familiar with using the controls and reading the meters.
I Read Chapter 9, Processing for FM, =FI8 =LCC<OGC8E8K@FE F=K?<GIF:<JJ@E>:FEKIFCJ@=PFL I<8CCP
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and Streaming sections as they operate in a nearly identical fashion.
I Glance through Chapter 18, the System menu, FI ALJK GFB<8IFLE;K?< 0PJK<D D<EL FE K?<
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items.
4
Chapter 1
The Omnia.9 Story
“Once upon a time...”
5
The Omnia.9 Story
How Omnia.9 Came to Be
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for almost two years on hundreds of radio stations around the globe. But the story of how Omnia.9
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tired of listening to classic rock music.
There was a lot of good current music out but he couldn’t stand the way CD mastering was falling victim
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himself listening only to older recordings.
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was born.
Processing for FM, HD, Studio, and Streaming Audio
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clipper.
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There are no hidden or “back door” controls in Omnia.9. We’ve given you full access to all of its controls
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The Omnia.9 Toolbox
Omnia.9 is unique in that it provides you with some built-in tools that we believe are essential to have
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something sounds the way it does.
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6
That’s A Lot of Power…
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will get you close enough to your desired sound so that you can make some tweaks to suit your individual
needs and tastes for your format in your market.
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possible.
Once you’ve learned your way around Omnia.9 and rid yourself of the hassle of trying to keep up with
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take phone calls from the program directors and engineers of the other stations in town who have been
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7
Chapter 2
Quick Startup Guide
In a hurry to get your Omnia.9 on the air?
We understand.
Here are the down-and-dirty bare-essentials to
get you up and running in a jiffy.
8
Quick Start Setup Guide
We know that you're probably in a hurry to get your new Omnia.9 installed and on the air. If you have
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Guide will get you up and running as quickly as possible.
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features and capabilities referenced in this guide or in the full product manual may be available in your
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We suggest having an assistant on hand when racking up Omnia.9 to help balance the unit during
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:FFC<;C<8M@E>8E<DGKPI8:BJG8:<;@I<:KCP89FM<8E;9<CFNK?<LE@K@J8;M@J89C<
Physical Installation and Initial Configuration
Connect AC power to both of the internal power supplies. There is no power switch. Failure to use both
power supplies is interpreted by the unit as a failure in one of the supplies and will result in an audible
alarm which can be silenced by pressing the small red button between the supplies.
It is always possible for a supply to fail and so having redundant supplies does help protect you against
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=FID8O@DLDI<;LE;8E:P
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professional line-level analog audio via its Left and Right Inputs in the Main Analog I/O section of the rear
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A Word about AES Reference and Sample Rates: If you need to sync the Omnia.9 to an external
reference, use the AES Reference Input to ensure that the externally generated reference will be used as
the main clock for the Omnia.9.
9
However, Omnia.9’s main sample rate MUST be set to match the rate of the external reference at either
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8EP"0J@>E8C=IFDSB%Q
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down menus for each Input Source as appropriate for your installation.
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are fed from Input 3. The Studio core is fed from Input 1 by default but can be assigned its own separate
input.
Connect the audio outputs as appropriate for your installation. Omnia.9 supports balanced professional
line-level analog audio outputs via its Left and Right Outputs in the Main Analog I/O section of the rear
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O section.
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Although is it possible in theory to have excellent peak modulation control even with external preemphasis, in practice not every stereo generator does pre-emphasis correctly. Certain stereo
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frequency peak overshoots, the stereo generator is faulty by design, and must either be replaced or
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audio. Choose “L/R” if you are you do not intend to use Omnia.9’s built-in stereo generator at all. Chose
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10
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psychoacoustic distortion masking.
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sliders to set the input levels. When driving the input with typical program material at normal operating
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options.
/<KLIE KFK?<%FD<*<ELJ<C<:K#*J<C<:K -IF:<JJ@E> K?<E J<C<:K )F8;-I<J<KKF:?FFJ<FE<F=K?<
factory presets. "Rustonium" is the default preset and provides a well-balanced sound with competitive
CFL;E<JJJL@K89C< =FI E<8ICP8EP =FID8K%FN<M<IN<JL>><JK PFL 8L;@K@FE 8CC F=K?<=8:KFIP GI<J<KJKF
get a feel for each of them.
Note: Omnia.9 contains a relay-bypass feature that allows unprocessed audio to pass directly
C7A>D67 C74D=8C C>?A4E4=C2><?;4C4 ;>BB>5 0D38>340308A 0=HC8<4C74B>5CF0A48B =>C 02C8E4
This includes when the unit loses power, is in the start-up process, or must re-initialize its software
05C4A0??;H8=624AC08=DB4A8=8C80C432>=P6DA0C8>=270=64B
%>A<0;;H C78B8B=>C0=8BBD4>F4E4A8=24AC08=B8CD0C8>=B5>A4G0<?;485H>D70E40?;0H4A
2>==42C43C>C740=0;>68=?DCB0=30=0<?;8P4A>AB?40:4AB2>==42C43C>C740=0;>6>DC?DCBC78B
means the input and output will be directly connected with no attenuation whatsoever, resulting in
5A843B?40:4AB>A40A3ADA0=4E82C8>==>C8245>;;>F8=62><?;08=CB5A><8AA8C01;4=48671>AB
When engaged, the bypass relays hard wire the following inputs to outputs:
Analog In > Analog Out
$08=868C0; =$08=$&DC
DG868C0; =DG&DC
$'. =$'.&DC
$'. =$'.&DC
11
Chapter 3
General Processing Advice
Setting your goals and avoiding common pitfalls.
12
General Processing Advice
Know Your Goals
1?<XIJKJK<G KFJL::<JJ=LCGIF:<JJ@E>S8E;K?@J8GGC@<JKF+6GIF:<JJFIEFKALJK,DE@8@J;<XE@E>
PFLI>F8CJ4?8K<M<IK?FJ<>F8CJ8I<,DE@8@J:8G89C<F=><KK@E>PFLK?<I<
You may wish to maintain as much quality as possible while increasing loudness somewhat over your
<O@JK@E> GIF:<JJFI 6FL D@>?K N8EK KF :I<8K< M<IP :FEJ@JK<EK JFLI:<KFJFLI:< JG<:KI8C 98C8E:< 8E;
;<M<CFG8 TJ@>E8KLI<JFLE;U=FI PFLIJK8K@FE6FL D8PXE;PFLIJ<C=@E 8 J@KL8K@FEN?<I<PFLE<<;KFJK8P
:FDG<K@K@M<CPCFL;FE K?<;@8C8KK?<<OG<EJ<F=K?<9<JKGFJJ@9C<JFLE;,I PFLD8P ?8M<K?<CLOLIPF=
8@D@E>=FI8DFI<FG<E:C<8E<IJFLE;K?8KN@CC;I8N8E;B<<G C@JK<E<IJ=FICFE><IG<I@F;JF=K@D<N@K?FLK
having to worry about all-out loudness.
&E8EP:8J<@K@J9<JKKFJK8IKN@K?8>F8C@ED@E;8E;NFIBKFN8I;@K:8I<=LCCP8E;;<C@9<I8K<CP
Tweaking and Fiddling
,E<9@>K<DGK8K@FE N?<E @EJK8CC@E>8 E<N GIF:<JJFI@JX;;C@E>N@K? <M<IP8M8@C89C<:FEKIFC8E;K?<I<@J
EFJ?FIK8><F= K?FJ<@E ,DE@8 1?<I<WJ I<8CCP EF 9<KKKFNFIIP89FLKA<FG8I;@Q@E>PFLI
FE8@IJFLE;FI9<@E>LEE<:<JJ8I@CPK@D@;89FLKD8B@E>8;ALJKD<EKJ9<:8LJ<PFL ;FEWKBEFNN?8K8==<:K
they will have.
EFK?<IJL>><JK@FE =FI><KK@E>KFBEFNPFLIN8P8IFLE;,DE@8 @JKFXE;8=8:KFIPGI<J<KK?8KPFL C@B<
8E;K?<E >F<OGCFI@E>@E K?<M8I@FLJD<ELJKFJ<<?FNK?8KJFLE;N8J8:?@<M<;#FI<O8DGC<C<KWJJ8P
PFL XE; 8 GI<J<K N@K? 8 JDFFK? FG<E JFLE; N?@:? D8K:?<J PFLI ><E<I8C GIF:<JJ@E> >F8C J PFL
<OGCFI<PFL D@>?KXE;JFD< :FEKIFCJJ<K 8J PFL NFLC;<OG<:KKF;<C@MJK?8KD8B<DFI<:I<8K@M<LJ<F=,DE@8WJ :FEKIFCJ1?<I<@J DL:? KF9<
learned by studying.
Once you are comfortable with navigating through Omnia.9’s menus and have a good understanding of
?FN@KJ:FEKIFCJFG<I8K<PFLWI<I<8;PKFK8B<@K=FI8K<JK;I@M<FEK?<8@I
Choosing a Preset
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JFLE; PFL DLJKJK8IK N@K? FE<F= K?< =8:KFIP GI<J<KJ 4<I<:FDD<E;PFL XE;FE<K?8K DFJK :CFJ<CP
D8K:?<JPFLI>F8CJ8E;K?<ED8B<8EPDF;@X:8K@FEJ=IFDK?<I<8JE<<;<;
*FJKGIF:<JJFIJLJ<I8;@F=FID8KE8D<JKFKIP8E;;<XE<K?<@IJFLE;9LKK?<E>FFEKF<OGC8@EK?<I<WJEF
I<8JFE8IF:B JK8K@FE J?FLC;EWKKIPFLKK?<T FLEKIPUGI<J<KSN?@:? @JM<IPKIL<J8ILC<,DE@8 K8B<J
a deliberately different approach and most of its presets don’t give you any hint as to who should use
K?<DFI?FN@EK?<?FG<JK?8KPFLWCCTJK<GFLKF=PFLI9FOU89@K8E;<OGCFI<
If your Country station sounds great on the air with settings that might mimic an “Urban” preset - with a
JC8DD@E>CFN<E;8E;8 E@:<FG<E D@;I8E><SK?<C8JKK?@E>N<N8EKKF;F@JD8B<PFLJ<:FE;>L<JJ
yourself because the preset name doesn’t match.
13
Making and Saving Changes
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K?@E>J@E D@E; ?<I< 8I<JFD< I<:FDD<E;<; T!FWJU8E; T!FEWKJUN?<E D8B@E>8E; J8M@E> :?8E><JKF
presets:
R !,I<J@JKK?<K<DGK8K@FE KF:FEJK8EKCPX;;C<N@K? <M<IP:FEKIFC I@>?K8=K<J
R !,+W1 D8B<8;ALJKD<EKJ KF KFFD8EP G8I8D<K<IJ 8KFE:<SK?8K D8B<J @K ;@=X:LCK KF;<K<ID@E<
N?@:?F=K?<8;ALJKD<EKJ@J8:KL8CCPI<JGFEJ@9C<=FIK?<:?8E><J=FI9<KK<IFINFIJ<PFLWI<?<8I@E>
on the air.
R !,CFFB KFK?<8E; *@O 8E; -8I8D<KI@: ". J<:K@FEJ XIJKKF 8:?@<M< K?< JG<:KI8C 98C8E:<8B8
TJ@>E8KLI<JFLE;UK?8KPFLWI<CFFB@E>=FI1?<J<8I<GFN<I=LC8;ALJKD<EKJ8E;8C@KKC<". :8E>F8
CFE>N8P1?@J@J><E<I8CCPTJ8=<IUK?8E D8B@E>8;ALJKD<EKJKFK?<K8I><K8KK8:B8E;I<C<8J<I8K<
:FEKIFCJ8J@K@JJFD<K@D<J;@=X:LCKKFBEFN ?FNK?<;@==<I<EK:FDGI<JJ@FE JK8><J@EK<I8:KN@K? FE<
another on all material.
R !,K8B< 9I<8BJ N?<E 8;ALJK@E>PFLI GIF:<JJ@E>"8IJ K@I< HL@:BCP 8E;@= PFL JK8P8K @K KFFCFE>
PFLWI<8CDFJKJLI<KFD8B<:?8E><J@EYL<E:<;9P=8K@>L<
R !,+W1 KLIE PFLI DFE@KFI JG<8B<IJ LG KFF CFL; N?<E D8B@E> 8;ALJKD<EKJ %@>? C@JK<E@E> C<M<CJ
cause ears to tire even more quickly and mask both gain riding artifacts and distortion. Most
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listening levels.
R !,D8B<JD8CC8;ALJKD<EKJG8IK@:LC8ICPKF:I@K@:8C:FEKIFCJC@B< C@GG<I8E;)@D@K<IK?I<J?FC;J
R DO take the time to calibrate a set of high-quality reference monitors (a process described in detail
in this manual) so that any changes you make aren’t skewed by colorations of the speakers or
room.
R DON’T rush the process. Use the “sleep-on-it” method when you’ve reached a point where you are
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@K;F<JEWKD8B<8=<N8;ALJKD<EKJ8E;N8CB8N8P=FI8EFK?<I;8P
R DO use the “Save As” method of naming and saving your custom presets rather than over-writing
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keep you from having to remember (or guess) what changes you’ve made along the way.
Many Omnia.9 users have asked if they can make their own custom presets “from scratch.” All custom
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T/<=<I<E:<0<KK@E>JU8E;8JJL:?GIFM@;<JK?<:CFJ<JKK?@E>KF8T9C8EB:8EM8JUGFJJ@9C<=FI9L@C;@E>PFLI
own preset from the ground up.
14
Chapter 4
Home Screen &
User Interface
Getting touchy-feely with the GUI and learning your way
around the front panel display.
15
Home Screen & User Interface
At the Top of Every Screen
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CF:8K@FE F= K?< G8IK@:LC8I ,DE@8 LJ<I:LJKFD@Q<; K?< -2 CF8; 8 0G<8B=0; >A *CA40<8=6 ?A>24BB8=6 2>A4B 4=2>38=6<D;C8?;4BCA40=C74',B>0BH>D4<?;>H<>A4>5C74B4540CDA4B8COB6>>3?A02C824C>C0:4=>C4>5
C74 ', DB064 -74=', DB064A40274B C748=3820C>A CDA=BH4;;>F 0;4AC8=6H>DC70C H>D
70E4A4027430?A02C820; B054<0G8<D<CC748=3820C>ACDA=BA43C>?A>E8340F0A=8=6C70C
reduced system performance, including interruptions to program audio, is possible.
Omnia.9’s front panel touch screen simultaneously provides access to the user interface and displays a
wealth of information about your processing and signal.
FEKIFCJ JL:? 8J K?< 0G<8B PFLI XE> C<=K FI I@>?K 6FL D8P :FEK@EL< KF ;I8> FLKJ@;< F= K?<
boundaries of the slider. Double-tapping on a sliding control will bring up an enlarged view for easier
8;ALJKD<EK18GG@E>FE8 9LKKFE JL:?8JK?<*<EL :FEKIFCFG<EJLG ;IFG;FNED<ELJFI E8M@>8K<JKF8
sub-menu.
R The Speaker Volume :FEKIFC 8;ALJKJ K?<FLKGLKC<M<C F= N?8K<M<I 8L;@FPFL ?8M< IFLK<;KF K?<
0G<8B<I,LKGLK)@B<N@J<K?<Headphone Volume:FEKIFC8;ALJKJK?<FLKGLKC<M<CF=K?<8L;@FPFL
have routed to the Headphone Output. Each control displays the patch point currently being
monitored. Orange bars within the controls indicate that the limiters in the corresponding monitor
output are active. Details of the Speaker Output and Headphone Output are described in the
Monitor Outputs section of this manual.
R The Menu 9LKKFE FE K?< =IFEK G8E<C ?8J =FLI FGK@FEJ !@JGC8PJ ,ECP )F:B #IFEK -8E<C "OG<IK
*F;<8E;/<@E@K@8C@Q<T/<@E@KU!@JGC8P
R Selecting Displays Only allows whichever displays you have selected to occupy the entire
=IFEK G8E<C N?@C< ?@;@E> K?< :FEKIFCJ LJ<=LC N?<E PFL N8EK 8 DFI< ;<K8@C<; M@<N F= K?<
processing meters or an oscilloscope or FFT display. Tapping anywhere on the screen returns
PFLKFK?<EFID8CM@<NN?@:?J?FNJ9FK?;@JGC8PJ8E;:FEKIFCJ
R The Lock Front Panel option allows you to lock the front panel if you have enabled password
GIFK<:K@FE4?<E PFL CF:B K?<J:I<<E 8CCF=K?<;@JGC8PN@E;FNJN@CC I<D8@E M@J@9C<@E K?<KFG
16
portion of the display and the bottom portion will change to accept your password via the onJ:I<<E B<P9F8I;!<G<E;@E> LGFE ?FN PFL ?8M<I<J@Q<;K?<M8I@FLJ GFIK@FEJ F=K?<J:I<<E
K?<;@JGC8PJD8P8GG<8IJD8CC<IN?<E K?<LE@K@JCF:B<;KF<EJLI<JL=X:@<EKJG8:<@JI<J<IM<;
for the on-screen keyboard.
R The Expert Mode:FEKIFC KF>>C<J 9<KN<<E "OG<IK 8E;+FE"OG<IK M@<NJ 8E; @J <OGC8@E<;@E
more detail below in the “Navigation Modes” section.
R The Re-init Display control will reset the front panel display. In normal operation it is highly
unlikely that you would ever need to do so unless otherwise instructed by our support team
when diagnosing an issue related to the display.
R The Display Preset9LKKFEJELD9<I<;SC<KPFL:I<8K<8E;J8M<J@OJ<G8I8K<%FD<J:I<<EJ
#FI<O8DGC<PFL D8P N@J? KF;<MFK<FE<;@JGC8P GI<J<KKFEFK?@E>9LKK?<2E;F8E;-IF:<JJ@E>
*<K<IJKF;@JGC8PK?<J<G8I8D<K<IJ@E >I<8K<I;<K8@C,IPFL :FLC;;<MFK<8E <EK@I<;@JGC8PGI<J<K
KFK?<FJ:@CCFJ:FG<8E;DFE@KFIK?<GIF>I8D @EGLKK?<FLKGLKF=2E;FK?<*-59<=FI<K?<:C@GG<J N@K?@E ,DE@8 8I< ;F@E>KFK?<8L;@F
signal.
Understanding the User Interface and Display
Omnia.9’s User Interface (UI) is set up in “tiers”.
1?<XIJKK@?<JKC<M<C DFJK><E<I8CD<ELFGK@FEJ@E K?<=FIDF=9LKKFEJ4?<E
J<C<:K<;K?<J<9LKKFEJK8B<PFL KF8 J<:FE;K@<I F=D<EL FGK@FEJN?@:? 8I<8CJF9LKKFEJ9LKF=8 DFI<
JG<:@X:E8KLI<1?<K?@I;K@<I@JD8;<LGF=,DE@8WJ:FEKIFCJ
Navigation Modes
There are two navigation modes: Expert and Non-expert1?<;<=8LCKDF;<@JT+FE"OG<IKUFK?DF;<J
>@M< PFL 8::<JJ KF K?< J8D< ELD9<I F= :FEKIFCJ K?< K<IDJ I<=8K<K?IFL>?K?<D<ELJPJK<D
The Expert mode shows all tiers and available controls for selected menu sections at once. This provides
more direct access to items located deeper in the menu structure but may be visually more intimidating to
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screen real estate to work with.
Non-Expert Navigation Mode
P;<=8LCK,DE@8GFN<IJLG@EK?<+FE<OG<IKE8M@>8K@FEDF;<
In this mode:
R The top portion of the screen is devoted to the display windows.
R The bottom portion of the screen shows the buttons or controls for the current tier.
R &E 9<KN<<E K?<J< KNF 8I<8J @J 8 E8M@>8K@FE 98I K?8K J?FNJ PFL <O8:KCP N?<I< PFL T8IN@K? E8M@>8K@FE 8IIFN 9LKKFEJK?8KC<KPFL >F=FIN8I;FI 98:BN8I;KFDFJKGC8:<J
you have visited in the fourth tier.
17
R Selecting and holding down either of the arrow buttons will bring up a list of these places so you
can re-visit them directly.
R !FL9C<K8GG@E>FE 8EPF=K?<:FEKIFCJ9I@E>JLG 8 D8>E@X<;M@<N K?8K?8JKNFC8I><JC@;<IJSFE<
=FI8T:FLIJ<U 8;ALJKD<EK8E;FE<=FI8TXE<U8;ALJKD<EK,E:<PFLWM<D8;<PFLI8;ALJKD<EKJK8G
“Done” to return to the previous display of all the controls for the tier you’re in.
R You can make individual portions of the window larger or smaller to devote more or less on-screen
I<8C<JK8K<KF;@JGC8PN@E;FNJFI:FEKIFCN@E;FNJ9P;I8>>@E>LG8E;;FNEFEK?<I<J@Q<98IJ
Tier 1
Menu
Tier 2
Menu
Tier 3
Menu
Tier 3
Controls
Speaker &
Headphone Volume
Navigation
Arrows
Display
Presets
Resize
Bars
Expert Navigation Mode
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information at once.
In this mode:
• The navigation bar and arrows are eliminated.
• The top portion of the screen is devoted to the display windows.
• 1?<D@;;C<GFIK@FEF=K?<J:I<<EJ?FNJK?<XIJKJ<:FE;8E;K?@I;K@<I9LKKFEJ
• The bottom portion of the screen shows the third tier controls.
• You can make individual portions of the window larger or smaller to devote more or less on-screen
I<8C<JK8K<KF;@JGC8PN@E;FNJFI:FEKIFCN@E;FNJ9P;I8>>@E>LG8E;;FNEFEK?<I<J@Q<98IJ
18
Tier 1
Menu
Tier 2
Menu
Tier 3
Menu
Tier 3
Controls
Resize
Bars
The Three Basic Control Types
There are three basic types of controls in Omnia.9:
R On/Off buttons 1?<J< :FEKIFCJ KF>>C<FE 8E;F== K?<I<9P<E89C@E>FI ;@J89C@E>K?<8JJF:@8K<;
function.
R Drop-down menus GIFM@;< 8 ;IFG;FNE C@JK F= FGK@FEJ 0:IFCC@E>FM?C@>?KJ @K
while a tap or left-click on a mouse selects it.
R Sliding controls - Selecting a slider control highlights it. Tapping and holding (or left-clicking and
?FC;@E>N@K? 8 DFLJ< 8 JC@;@K98:B 8E;=FIK? KF8;ALJK@KJ G8I8D<K8KFL:?@EK<I=8:<;I8>>@E>K?<JC@;<I=8JK<IN@CC8::<C<I8K<K?<I8K<F=:?8E><JCFE>8JPFL
?8M<EWK C@=K<; PFLI XE> K?< JC@;8KFL:? @EK<I=8:<PFL :8E;FL9C<
K8G 8JC@;<IKF9I@E>LG 8GFGLG N@E;FNN@K?KNFC8I><JC@;<IJFE<=FIT:F8IJ<U8;ALJKD<EK8E;FE<
=FITXE<U
19
Chapter 5
Reading the
Processing Meters
A meter is worth a thousand words, or how to connect
what you see to what you hear.
20
Reading the Processing Meters
Understanding the Processing Meters Display
The Processing Meters Display provides a tremendous amount of information about what’s going on
@EJ@;<<8:?F=,DE@8WJGIF:<JJ@E>:FI<J9LK@E8M<IP<=X:@<EK8E;<8JPKFI<8;D8EE:FI<D<K<IJ8I<GIFM@;<;=FIDFE@KFI@E>@EGLKC<M<CJ&EGLK$ 4@;<98E;$ *LCK@98E; $ 8E; )@D@K<IJ *LCK@98E; +F@J< /<;L:K@FE *LCK@98E; 0K<I<F "E?8E:<D<EK 4@;<98E;
$ 8E;$ J<:K@FEJGFJKDLCK@98E;FLKGLK*-5FLKGLK8E;@E;@M@;L8CC<=K8E;I@>?KFLKGLKJ&EK?<
%! 8E; 0KI<8D@E> :FI<J D<K<IJ =FI K?< XE8C CFFB8?<8; G<8B C@D@K<IJ 8E; K?< XE8C FLKGLK F= K?<
GIF:<JJ@E>:FI<8I<8;;<;N?@C<K?<*-5FLKGLK8E;C<=K8E;AGC output meters are eliminated.
• The ITU BS.1770 Input meters indicate the level of the unprocessed source audio coming into
,DE@8N@K?YF8K@E>G<8B@E;@:8KFIJ89FM<<8:?98I
• The Auto Balance window indicates any corrective left-to-right channel balancing being performed.
• The AGC meter window shows the levels and action of the Input AGC and the Wideband AGC1
compressors. It also shows the level of the Wideband AGC2 section when it is enabled and
positioned before the multiband section.
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the left of the meter can display levels below threshold (positive numbers) as well as levels above
threshold (negative numbers). When the meters dip down below “0” the compressors are above
threshold and therefore in a state of gain reduction. When they rise above “0” they are below
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added together to determine the total amount of AGC gain in place.
21
• The Input AGC levels are indicated by a bright yellow bar. The Wideband AGC1 levels are shown
8J 8 ;8IB FI8E>< 98I <OK<E;@E> 9<CFN K?< &EGLK $ D<K<98I
below the AGC1 meter.
• The MultibandD<KJ<:K@FEK?<J:8C<N@CC:?8E><98J<;LGFEK?<J<KK@E>JF=M8I@FLJDLCK@98E;
controls.
• The AGC level in each band is indicated by a bright yellow bar. The multiband limiter for each band
@J I<GI<J<EK<; 9P 8 9I@>?K I<; 98I K?8K Y8J?<J 9<E<8K? K?< $ C<M<C 1?< DLCK@98E; EF@J<
reduction for each band is shown by a dark red bar that appears to drop down from the very top of
K?<D<K<I$8K@E> K?<:FE;@K@FE @E N?@:? I<C<8J<@JJ@>E@X:8EKCP JCFN<;;FNE @J @E;@:8K<;9P8
;8IB I<; I@99FE 8K K?< 9FKKFD F= K?< DLCK@98E; $ D<K<IJ #I<<Q@E> K?< :FE;@K@FE @E N?@:?
I<C<8J< JKFGJ :FDGC<K<CP @J @E;@:8K<; 9P K?< J8D< I<; I@99FE 9LK JC@>?KCP 9I@>?K<I !IP MF@:<
detection is indicated by a green ribbon in the same location.
• If the Wideband AGC2:FDGI<JJFI@J<E89C<;8E;GC8:<;8=K<IK?<DLCK@98E;J<:K@FEFI@K@JLJ<;
@EFE<F=@KJ8JJDF;<J@KJD<K<IN@CC9<;@JGC8P<;J<G8I8K<CPKFK?<I@>?KF=K?<DLCK@98E;;@JGC8P
The Wideband AGC3 meter will appear after the multiband section as well if it has been enabled.
• The Multiband Output D<K<IJJ?FNK?<C<M<CJ8=KJ<:K@FE9LK9<=FI<
the Bass Clipper and Final Clipper.
• The MPXD<K:FI<@E:CL;@E>)
/)/8E;
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• The L/RD<K<IJJ?FNK?<FLKGLKF=K?<)/:C@GG<IN?@:? @JLJ<=LCFECP@=PFL8I<LJ@E>K?<E8CF>
or Digital FM L/R outputs.
• The Multiband Stereo Enhancer meters will be displayed if the current preset employs this
feature.
6<CCFN 98IJ <OK<E;@E>=IFD K?<D@;;C<FLKN8I;KFN8I;K?<C<=K8E;I@>?KF= K?< ;@JGC8P @E;@:8K<8
widening of the stereo image.
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stereo image.
22
Chapter 6
The Home Menu
M+74A4OB=>?;024;8:47><4N>A>C7H
23
The Home Menu
Omnia.9’s Home Menu @J K?< ?@>?<JK C<M<C D<EL 8M8@C89C<@E K?< LJLI<8E;IFLK<&EGLKJFLI:<8L;@F8::<JJK?<2E;FD<ELJ8E;:FEKIFCJ8::<JJK?<:FEKIFCJF=K?<
M8I@FLJGIF:<JJ@E>:FI<J:FEX>LI<K?<*FE@KFI,LKGLKJ8E;8::<JJJPJK<DJ<KK@E>J
&=PFL<M<ICFJ<PFLIN8P@E K?<D<EL JPJK<D>F@E>98:B KFK?<%FD<*<EL N@CC><KPFL HL@:BCP98:B FE
familiar ground.
24
Chapter 7
Inputs 1/2/3
Source Audio Menu
“The only source of knowledge
is experience.” - Albert Einstein
“The only source of audio are those jacks on the back.
And the internal player.” - Omnia.9 Manual
25
Source Audio Menu - Inputs 1/2/3
Each of the inputs has its own Source Audio Menu and Undo Menu. Input 1 is always used for FM/
%!0KI<8D@E>,E LE@KJJF<HL@GG<; &EGLK =<<;JK?<%!0KI<8D@E> G8K? N?@C<&EGLK =<<;J
the HD-3/Streaming 3 path. The menus and controls are identical for each.
Source Audio Menu
The Source Audio Menu provides access to the Auto Balance and Internal Playback sub-menus.
Auto Balance Menu
When Auto Balance @J <E89C<; ,DE@8 N@CC 8LKFD8K@:8CCP 98C8E:<K?<C<=K 8E;I@>?K :?8EE<CJ F= K?<
@E:FD@E> 8L;@F :FDG<EJ8K@E> =FI 8EP C<M<C ;@J:I<G8E:@<J K?8K D8P 9< GI<J<EK @E 8E 8L;@F JK8><
preceding the processor (such as the output of a console or an STL). To monitor input audio before Auto
26
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8C8E:<:?FFJ<K?<-I<!<:C@GG<IG8K:?GF@EK
R Selecting the Enable button toggles Auto Balance on and off.
R The RangeJC@;8@E K?8K :8E 9<@E:I<8J<;FI ;<:I<8J<;@E
<8:? :?8EE<C#FI <O8DGC<N@K? K?</8E><:FEKIFCJ<K8K;K?<>8@E @E <8:?:?8EE<C:8E 9<
boosted by up to 3dB and attenuated by up to 3dB. Each channel contains an ITU BS-1770
loudness monitor which measures and compares the frequency-shaped RMS level in each channel.
R The Integration Time control determines how quickly Auto Balance corrects any discrepancies
between the left and right channel. Shorter integration times correct channel-to-channel imbalances
more quickly and provide more consistent levels between the left and right channels. Reducing the
@EK<>I8K@FEK@D<KFFDL:?D8P:8LJ<8ELE;<J@I89C<FILEE8KLI8C<==<:K8JK?<:?8EE<CJI<98C8E:<
and therefore the default setting of 10 seconds is recommended for most situations.
R The Channel Loss Timeout option automatically fades to mono if one input channel is missing.
1?<C<E>K? F=K@D<,DE@8N8@KJ9<=FI<=8;@E>KFDFEF:8E9<J<KKFFIJ<:FE;J
seconds is the default. This feature can be disabled altogether by selecting “Off”.
Internal Playback Menu
,DE@8GIFM@;<JK?<89@C@KPKFGC8P8L;@FXC<JPFLGIFM@;<=IFDN@K?@EK?<LE@K@KJ<C==FI<8:?@EGLK
27
R Selecting the Internal Playback button will start audio playback from Omnia.9’s internal library of
songs.
J WARNING: This will interrupt the program audio being fed to the selected input!
1?<@EK<IE8CGC8P<I@JEFK8E 8LKFD8K@FEJPJK<D9LK@K:8EI8E;FD@Q<DLJ@: 8E;>L8I8EK<<JEFKKFI<G<8K
a song within twenty songs (provided you have more than 20 songs in the folder). Beyond its value as a
K<DGFI8IP98:BLG JFLI:<K?<@EK<IE8CGC8P<I@J8CJF?8E;P@=PFL8I<;F@E>NFIB @EK?<JKL;@F8E;E<<;KF
K<DGFI8I@CP@EK<IILGKK?<EFID8C8L;@F@EGLKG8K?,IGIFM@;<;,DE@8 @JCF:8K<;8KK?<KI8EJD@KK<IJ@K<@K
can also play out music if you need to work on the STL.
1?<@EK<IE8C GC8P@EE@E>8E;<E;F=
each track and thus provide tight back-to-back playback. Station IDs may be optionally inserted between
songs.
Music is uploaded to the internal SSD drive by connecting to Omnia.9’s built-in FTP server on port 7321
(passive ports 7322-7331). The default user name is either anonymous or “Omnia”. There is no
G8JJNFI; 8J 8::<JJ @J :FEKIFCC<; 9P K?< %11- ::<JJ 4?@K< )@JK =FLE; @E K?< 0PJK<D 0PJK<D
FEX>LI8K@FE%11-::<JJD<EL
1?<@EK<IE8C;I@M<:8E ?FC;IFL>?CP$ F=DLJ@: @E*-*-#) FI43- *FECP =FID8KJ1?<
#1-J<IM<IN@CCI<=LJ<8EPXC<K?8K@JEFK8JLGGFIK<;KPG<
+FK<K?8K8CK?FL>?K?<@EK<IE8CGC8P<IFM<II@;<JK?<GIF>I8D@EGLKPFL:8EJK@CC?<8I8E;J<<K?<G?PJ@:8C
input through any of the Monitor Outputs (including Client Audio on a remote connection) by selecting one
of the Physical Input patch points.
Each root folder will be directly available in the Folder drop-down menu and will automatically receive a
T0K8K@FE&!JU=FC;<IN?<I<PFL:8EGC8:<JK8K@FE&!JFIA@E>C<J
R The Gain control sets the output level of the internal audio player.
R The Previous and Next9LKKFEJ8CCFNPFLKFGC8PK?<E<OKFIC8JKJFE>I<JG<:K@M<CP
R The Mode Selector ?8JJ<M<I8CFGK@FEJ=FI XC<GC8P98:B#@C<J@DGCPGC8PJFE<:LK LEK@C @K@JFM<I
and then stops. Folder plays the entire contents of the folder and stops. Repeat File and Repeat
Folder allow you to repeat either a single cut or an individual folder respectively.
28
Chapter 8: Input Undo Menu
Chapter 8
Inputs 1/2/3
Undo Menu
Confucius said that when faced with what is right,
leaving it undone shows a lack of courage.
Call us brave.
29
Undo Menu - Inputs 1/2/3
What Exactly Is Undo?
&E FI;<K?<I
KFTLE;FUK?<GFFICPD8JK<I<;?PG<I:FDGI<JJ<;8E;:C@GG<;8L;@F=FLE;FEJFD8EPDF;<IE !WJ
J Note: The de-clipper works most effectively when using Omnia.9’s digital inputs. Regardless of
whether your use an analog or digital input, the incoming audio must not be equalized or preprocessed in any way. This means NO leveler, neither wideband nor multiband. If the possibility of
2;8??8=6 C74 *+#0C C74BCD38> 8B 02>=24A= B8<?;H CDA=3>F=C748=?DC ;4E4; C>C74*+#0=3 DB4
Omnia.9’s Input Gain control to compensate. Omnia.9 will also happily boost low input levels
automatically.
18B<8 CFFB 8KK?<KNFN8M<=FIDJ9<CFN:8GKLI<;LJ@E>,DE@8WJ9L@CK@EFJ:@CCFJ:FG<1?<KFG N@E;FN
shows the damaged source audio. The bottom window shows the same audio after it has passed through
the de-clipper. Notice how the peaks that were clipped during mastering have been restored by the declipper.
J Note: The oscilloscope gain was kept at the same level for comparison purposes, but Omnia.9 has
BD5P284=C8=C4A=0; 7403A>><0=3C748;;DBCA0C8>=BC70C5>;;>F3>=>CBD664BCC70CC740D38>8B148=6
2;8??430608=1H0=H?>AC8>=>5M,=3>N
1?<J<:FE;JK8><F=2E;F@J 8 DLCK@98E;<OG8E;<IK?8K@J ;<J@>E<;KFI<JKFI<;PE8D@: I8E><KF8L;@F
K?8K ?8J 9<<E <O:<JJ@M<CP :FDGI<JJ<; "8:? F= K?<XM<98E;J F= K?<<OG8E;
GJP:?F8:FLJK@: ;PE8D@:J ;<K<:KFI 8E; 8 G<8B ;<K<:KFI K?8K <O8D@E< K?< G<8B C<M<CJ F= K?< @E:FD@E>
30
8L;@F 8E;98J<;LGFE K?8K@E=FID8K@FE GCLJK?<J<KK@E>JF=K?<M8I@FLJ :FEKIFCJK<CCJ K?<<OG8E;<I?FN
much dynamic range to restore to the audio.
1?<@CCLJKI8K@FEJK?8K=FCCFNJ?FNK?<;8D8><;8L;@F9<=FI<;<:C@GG@E>FI<OG8EJ@FE1?<9FKKFDN@E;FN
J?FNJK?<J8D<8L;@F8=K<I@K?8J9<<E;<:C@GG<;8E;<OG8E;<;
Undo Menu
Each of the three internal audio input paths has a dedicated Undo section.
From the main UndoD<ELPFL:8ECF8;8E;J8M<2E;FGI<J<KJGIFK<:KGI<J<KJ<E89C<8E;;@J89C<K?<
;<:C@GG<IFIDLCK@98E;<OG8E;<I:?FFJ<N?@:?=LE:K@FEJ8I<;@JGC8P<;@EK?<2E;FD<K<IN@E;FN8;ALJK
K?<8DFLEKF=;<:C@GG@E>8;ALJKK?<;PE8D@:J;<K<:KFIWJI8K@FN<@>?K@E>8E;G<8B J<KK@E>J8E;J<KK?<
<OG8E;<IWJC<M<CJI8K<J8E;I8K@FJ
31
NFI;F=:8LK@FE89FLK2E;F&EB<<G@E>N@K?K?<TJG@I@KUF=,DE@8N<?8M<EFK9CF:B<;8::<JJKF8EP
F= @KJ :FEKIFCJ @E:CL;@E> K?FJ< =FLE; @E K?< 2E;F J<:K@FE E; N?@C< N< NFLC; 9< K?< C8JK FE<J KF
;@J:FLI8><PFL =IFDD8B@E>K?<DFJKF=<M<IPK?@E>,DE@8?8JKFF==<IN<=<<CK?8KFLKJ@;<F=8;ALJK@E>
K?<C<M<CF=;<:C@GG@E>DFJKLJ<IJN@CC><KK?<DFJKFLKF=K?@JGFN<I=LCKFFC9PLJ@E>FE<F=K?<GIFM@;<;
=8:KFIP2E;FGI<J<KJ#FIK?<DFI<:LI@FLJ8E;9I8M<I<8;FE
Load Preset, Save Preset, and Preset Protection Menus
The Load Preset D<ELJ 8CCFNJ PFL M@<N K?< 2E;F GI<J<K :LII<EKCP FE K?< 8@IKF>>C< 98:B 8E; =FIK?
9<KN<<E K?<:LII<EK 8E;98:BLG GI<J<KJCF8;8 E<N GI<J<K:FDG8I<K?<J<KK@E>J F= KNFGI<J<KJ8E;
delete user presets. The Save Preset menu allows you to edit the name of or save over a user preset.
The Preset Protection *<EL 8CCFNJPFL KF G8JJNFI;GIFK<:K 8 GI<J<KJF K?8K@K:8EEFK9<DF;@X<;FI
copied for use in another Omnia.9.
:FDGC<K<<OGC8E8K@FE F= ?FN KFLJ<K?<)F8;-I<J<K08M<-I<J<K8E;-I<J<K-IFK<:K@FE =LE:K@FEJ@J
=FLE; @E K?< J<:K@FE F= K?@J D8EL8C ;<MFK<;KF #* GIF:<JJ@E>(<<G @E D@E; ?FN<M8E; J8M@E> GI<J<KJ @J @;<EK@:8C these are two completely independent operations
within Omnia.9 with completely different sets of presets.
Undo Main Menu
The Undo Main menu contains the controls to enable and disable Undo.
R 4?<EJ<C<:K<;K?<Bypass:FEKIFCKLIEJF==9FK?K?<;<:C@GG<I8E;K?<<OG8E;<IGFIK@FEJF=2E;F
R The Enable De-clipper and Enable Expanders9LKKFEJKLIEK?<;<:C@GG<I8E;<OG8E;<IGFIK@FEJ
F=2E;FFE8E;F==@E;<G<E;<EKCPI<JG<:K@M<CP
Undo Metering Menu
The Undo Metering menu determines which of Undo’s four metering functions are displayed in the Undo
*<K<IJN@E;FNDFI<:FDGI<?<EJ@M<<OGC8E8K@FE F=?FNKF I<8;8E;LE;<IJK8E;K?<2E;FD<K<IJ@J
GIFM@;<;C8K<I@EK?@JJ<:K@FEN?<EK?<M8I@FLJ2E;F:FEKIFCJ8I<<OGC8@E<;
4?<E <E89C<; K?< Show Dynamics Detector *<K<IJ Show Expander Ratio *<K<IJ Show Speed
Governor *<K<IJ 8E; Show Expander Threshold Meters allow the associated meters for each
respective section to be displayed in the Undo Meters window.
32
De-clipper Menu
The De-clipper menu contains a single control to set the level of de-clipping in 5 stages. Lower settings
F==<IDFI<:FEJ<IM8K@M<;<:C@GG@E>8:K@FEN?@C<?@>?<IJ<KK@E>JF==<IDFI<;<:C@GG@E>
A setting of Level 5 the “normal” setting and recommended for most modern material which have been
mastered with high levels of compression and clipping. If your station primarily plays source material that
?8J9<<E:C<8ECPD8JK<I<;PFLD8PXE;CFN<IJ<KK@E>J8I<JL=X:@<EK
1?<DFJK<==<:K@M<N8PKFDFE@KFI<O8:KCPN?8KK?<;<:C@GG<I@J;F@E>@JKFM@<N K?<GI<;<:C@GG,DE@8WJ9L@CK@EFJ:@CCFJ:FG<J!<K8@CJF=?FNKF:FEX>LI<
the display windows and set up the oscilloscopes are provided in the Display Settings section of the
manual.
Density Detector Band Weighting
"8:? 98E; F= 2E;FWJ <OG8E; ;<EJ@KP ;<K<:KFI 1?< Density Detector Band
Weighting controls allow you to determine how much control each detector provides its own band as well
8J8EPFK?<I<OG8E;<I98E;
33
1F GLK K?@J :FE:<GK @EKF KI8;@K@FE8C GIF:<JJ@E> K<IDJ @K @J J@D@C8I KF T98E; :FLGC@E>U @E 8 DLCK@98E;
:FDGI<JJFIN?<I<8CC98E;JD8PFG<I8K<:FDGC<K<CP@E;<G<E;<EKCPF=FE<8EFK?<IFID8P@EYL<E:<FE<
another by way of coupling to varying degrees.
1?< ;<>I<< KF N?@:? <8:? ;PE8D@:J ;<K<:KFI 98E; @EYL<E:<J 8E; :FEKIFCJ <8:? <OG8E;J8I<J<KLG JFK?8K<8:?<OG8E;<I98E;:FEKIFCC<;8CDFJK<EK@I<CP
9P@KJ :FII<JGFE;@E>;PE8D@:J;<K<:KFI98E;9LKN@K? JFD<:FEKIFC GIFM@;<;9P JLIIFLE;@E>;PE8D@:J
;<K<:KFI 98E;J %@>?<I M8CL<J D<8E 8 G8IK@:LC8I ;PE8D@:J ;<K<:KFI 98E; ?8J DFI< @EYL<E:< FMC<<OG8E;E<;KF>F8CC K?< N8PKF
4?<E FE< :FEKIFC @J J<K KF 8E; FK??8JLD>I<8K<IK?8E 2E;F@EK<IGI<KJK?8K@E=FID8K@FE8E;8;ALJKJK?<J<KK@E>JF=<8:?
98E;KFD8@EK8@EK?<;<J@I<;GIFGFIK@FEF=@EYL<E:<PFL?8M<J<K=FI<8:?98E;I<C8K@M<KF
Dynamics Detector to Ratio Menu
The Dynamics Detector to Ratio D<EL 8CCFNJ PFL KF J<K K@D< :FEJK8EKJ F= K?< <OG8EJ@FE I8K@F
8;ALJKD<EK8JN<CC8J K?<"OG8EJ@FE0K8IKC<M<CJ8E;1I8EJ@K@FE 4@;K? C<M<CJ=FI<8:? F=K?<98E;JF=
2E;FWJDLCK@98E;<OG8E; N@K? K?< ;PE8D@: ;<K<:KFI J<KK@E>J 1?< ;<=8LCK 8E; I<:FDD<E;<; J<KK@E> @J N?@:?D<8EJK?<<OG8EJ@FEI8K@FN@CCKI8:B@EJK8EK8E<FLJCPN@K?EF8;;@K@FE8C;<C8P
R 4?<EK?<;PE8D@:J;<K<:KFI=8CCJ9<CFN8:<IK8@EC<M<C<OG8EJ@FEN@CC9<>@EJK8IK@E>8K8D@E@DLD
I8K@FF= 8E;@E:I<8J@E>KF8 D8O@DLD I8K@FF=1?<GF@EK8KN?@:? K?8K<OG8EJ@FE9<>@EJKF
occur is set by the Expansion Start control in each band.
R 1?<I<C8K@M<GF@EK8KN?@:?K?<<OG8EJ@FEI<8:?<J@KJ=LCCI8K@F@J;<K<ID@E<;9PK?<J<KK@E>F=K?<
Transition Width control in each band.
The detected amount of dynamics in each band is indicated by the Dynamics meters. Taller bars indicate
DFI< @E?<I<EK ;PE8D@:J@E K?<DLJ@: N?@C< J?FIK<E<I8CCP K?<
inverse of the Expansion Ratio meters. The result of settings in the Dynamics Detector to Ratio menu
:8E9<F9J<IM<;FEK?<"OG8EJ@FE/8K@FD<K<IJ@EK?<2E;F*<K<I4@E;FN
Dynamics
Meters
Expansion
Ratio Meters
Peak Detector Menu
2E;F D<8JLI<J 8L;@F G<8BJ 8J 8 D<8EJ 9P N?@:? KF J<K K?< <OG8E;<I K?I<J?FC;J 98J<; LGFE K?<
incoming program audio. The Peak Detector Menu controls the attack and release speed of each band of
Undo’s Peak Detectors.
35
R The Attack speed controls determine how quickly Undo reacts to incoming audio peaks. Faster
settings will make Undo more reactive to smaller incoming peaks by raising the threshold. Slower
settings will effectively lower the threshold.
R The Release speed controls determine how quickly Undo allows the peak values to fall back toward
the actual audio levels. Faster times will cause the peak levels to fall more quickly.
The effect of the Peak Detector settings is represented by the peak “blips” at the top of the dark orange
peak level bars within the Expander Threshold meters in the Undo Meter window. Average levels are
indicated by the bright orange bars.
Peak Blips
and Peak Level
Meters
Average
Level Meters
Expander Levels Menu
The Expander Levels D<EL >@M<J PFL 8::<JJ KF K?< /<C8K@M< 1?I<J?FC; 8E;4@;<98E; !@JK8E:<
)@D@K8E;*8O@DLD$8@E:FEKIFCJF=<8:?98E;F=2E;FWJ<OG8E;<IJ
36
R The Relative Threshold control for each band determines how far below the currently detected
G<8B K?< <OG8E; K?< JC@;?K I<JLCK @E 8
>I<8K?K?<JC@;<IKFK?<C<=KE8IIFNK?<G<8BKFK?I<J?FC;;@JK8E:<8E;GIFM@;<C<JJ<OG8EJ@FE
R &E 8;;@K@FE KF 8E 8;ALJK89C< G<I98E; G<8B ;<K<:KFI N@K? 8;ALJK89C< 8KK8:B 8E; I<C<8J< JG<<;J
N?FJ<=LE:K@FE @J;<J:I@9<;89FM<@E K?<-<8B !<K<:KFI D<EL J<:K@FE <8:? :?8EE<C8CJF?8J8
N@;<98E; G<8B ;<K<:KFI N@K? XO<; 8KK8:B 8E; I<C<8J< JG<<;J 1?< Band<WB Distance Limit
controls determine the greatest distance by which an individual band’s peak detector can fall
I<C8K@M<KFK?<N@;<98E;C<M<C8E;B<<GJ8EPFE<98E;=IFD9<@E><OG8E;<;@=K?<I<8I<@EJL=X:@<EK
C<M<CJKF 9<>@E N@K? #FI <O8DGC<@=K?<:LII<EKN@;<98E;G<8B @J; 8E;K?@J :FEKIFC @J J<KKF
;K?<G<8B;<K<:KFI=FIK?8K@E;@M@;L8C98E;N@CCEFK=8CC9<CFN;
R The Maximum Gain:FEKIFC J<KJK?<89JFCLK<D8O@DLD8DFLEKF=>8@E K?8K:8E9<8GGC@<;KFK?<
8L;@F@E<8:?<OG8E;<I98E;I<>8I;C<JJF=GIF>I8DD8K<I@8CFI8EPFK?<I:FEKIFCJ<KK@E>J
The Distance Limit is represented by the dark red bars in the Expander Thresholds meter in the Undo
Meter window.
Distance
Limit
Meters
Expander Rates Menu
The Expander Rates D<EL GIFM@;<J :FEKIFCJ =FI K?< 8KK8:B 8E;I<C<8J<JG<<;J F= K?< <OG8E;<IJ =FI
each band as well as attack and release speed controls for each band’s speed governors.
37
R The Expander Attack JG<<;:FEKIFC ;<K<ID@E<J ?FNHL@:BCP <8:? 98E;WJ <OG8E;J N@CC <OG8E; K?<8L;@FDFI<HL@:BCP2J@E> K?<
9L@CK@E FJ:@CCFJ:FG<KFM@<N K?<2E;F FEKIFC 0@>E8CG8K:? GF@EK@JM<IP?<CG=LC =FI 8;ALJK@E>8KK8:B
and release speeds as they show the gain that will be applied to the audio in each band. A detailed
<OGC8E8K@FE F= ?FN KF DFE@KFI M8I@FLJ G8K:? GF@EKJ N@K?@E ,DE@8 @J GIFM@;<; @E K?< !@JGC8P
Settings menu of this manual.
R The Expander Release JG<<;:FEKIFC 8;ALJKJ ?FN HL@:BCP K?<<OG8E;<I:8CC<;=FI#8JK<IJ<KK@E>JN@CC8CCFNK?<C<M<CJKF=8CCDFI<HL@:BCP
2E;F 8CJF LK@C@Q<J 8 J<:FE; J<K F=G8I8CC<C <OG8E;<IJ N?@:? CFFB 8K K?< J8D<@EGLK8E;8LKFD8K@:8CCP
J:8C<K?<8KK8:B 8E;I<C<8J<:?8I8:K<I@JK@:JF=K?<D8@E <OG8E;<IJ1?<J<0G<<;$FM<IEFIJ;<K<:KN?<E
K?<D8@E <OG8E;<IJ?8M<9<<EFG<I8K@E>8K=LCC JG<<;=FI8E<OK<E;<;G<I@F;F=K@D<8E;N@CC JCFN;FNE
K?<D8@E<OG8E;<IJ
R The Governor Attack speed determines how long the speed governors wait before scaling back
K?< JG<<;F= <OG8E;<IJ#8JKFM<IEFIJ KF JCFN ;FNE K?<
<OG8E;<IJDFI<HL@:BCP
R The Governor Release speed setting determines how quickly the speed governors give up their
@EYL<E:<FEK?<D8@E<OG8E;<IJ
1?<<==<:KF=K?<<OG8E;<I8KK8:B 8E;I<C<8J<JG<<;J8I<@E;@:8K<;9PK?<Multiband Expander meters
in the Undo Meter window. The levels of the speed governors are indicated in the Speed Governors
window.
38
Multiband
Expander
Meters
Speed
Governor
Meters
Expander Ratios Menu
"8:? 2E;F<OG8E;< F= I8K@FJ 9<KN<<E 8E;1?<Minimum Ratio
and Maximum Ratio;<K<ID@E<K?<89JFCLK<D@E@DLD8E;D8O@DLDI8K@FJI<JG<:K@M<CP=FI<8:?98E;
1?<I<8I<K?I<<8;;@K@FE8CD<K<IJ@EK?<2E;FD<K<I@E>N@E;FN=FI8L;@FC<M<CJ8KK?<@EGLKKF2E;F8=KK?<;<:C@GG<I8E;
<OG8E;<IJ&E<8:? :8J<K?<9I@>?KFI8E><98I @E;@:8K<J8M<I8><C<M<CJK?<;8IB<IFI8E><98IJ@E;@:8K<
G<8BC<M<CJ8E;K?<YF8K@E>FI8E><9C@GJJ<IM<8JG<8B?FC;@E;@:8KFIJ
Peak Blips
and Peak Level
Meters
Average
Level Meters
39
Chapter 9
FM Menu
Processing for FM
You have to start somewhere.
Here is good.
40
FM Menu: Processing for FM
You Have to Start Somewhere: The FM Menu
1?<D8@E#**<EL:FEK8@EJ=FIJL9D<ELJ=FI-IF:<JJ@E>*-5&EGLK/!08E;*<K<I,GK@FEJ
4?@C< ,DE@8 F==<IJ :FDGC<K<CP J<G8I8K< GIF:<JJ@E> :FI<J =FI #* LG KF K?I<< %! :?8EE<CJ K?I<<
JKI<8DJ;<G<E;@E>LGFE :FEX>LI8K@FE8E;8 CFNC8K<E:P JKL;@F :FI< K?<D8AFI@KPF= K?<:FEKIFCJ8I<
K?<J8D<=FI<8:?1?<I<N@CC9<JFD<;@==<I<E:<JF=:FLIJ<=FI J<KK@E>JK?8K8I<G<:LC@8IKF8 G8IK@:LC8I
D<;@LD#FI @EJK8E:<%! 8E;0KI<8D@E> FLKGLKJLJ<CFFB8?<8;C@D@K<IJ@EJK<8; F= 8 :C@GGPFLIJ<C=N@K? K?<#*J<:K@FE SN?@:? @JK?<GI@D8IP8E;G<I?8GJDFJK=8D@C@8IJ<:K@FEF=
any processor - you can get to know the menu interfaces and the function of the various controls.
#8@IN8IE@E>1?<I<@JEFJ?FIK8><F=:FEKIFCJ@E,DE@8&KN8J ;<C@9<I8K<CP;<J@>E<;KFGIFM@;<8 M<IP
:FDGI<?<EJ@M<J<KF=KFFCJ8E;>@M<PFL:FDGC<K<=I<<;FDKF:I<8K<<O8:KCPK?<JFLE;PFLN8EK8E;=<<C
is best suited to your station in your market.
:FDGC<K<ILE;FNE8E;<OGC8E8K@FEF=K?<M8I@FLJD<ELJ=FLE;@EK?<#*GIF:<JJ@E>:FI<@JGI<J<EK<;
here.
41
FM Processing Menu
The FM Processing menu provides access to all sections of the main FM processing core. From this
D<ELPFL:8E CF8;8E;J8M<GI<J<KJ<E89C<8E;:FEX>LI<-I<J<K-IFK<:K@FE8E;8;ALJKG?8J<I<C8K<;
GIF:<JJ@E>JL:? 8JK?<-?8J<0:I8D9C<I-?8J</FK8KFI8E;8JJ"#5 :@I:L@K1?@J @J 8CJFN?<I<PFL
:8E 8;ALJK 8L;@F G8I8D<K<IJ @E:CL;@E> K?< !FNEN8I; "OG8E;<IJ &EGLK $ 4@;<98E; $ J
-8I8D<KI@: "HL8C@Q>C<98:B 8E;=FIK?9<KN<<EK?<
:LII<EK 8E;98:BLG GI<J<KJ CF8; 8 E<N GI<J<K :FDG8I<K?< J<KK@E>J F= KNF GI<J<KJ 8E; ;<C<K<LJ<I
presets.
Highlighting a preset from the list places it in the Load button. Selecting the Load button puts that preset
on the air and moves it up to the Current Preset position. The preset that was previously on the air will
become the Backup Preset. You may also place a preset on the air from the list directly by double tapping
it.
42
=K<I:?8E>@E>8EPG8I8D<K<IF=8 GI<J<K8E *8GG<8IJE<OKKFK?< LII<EK-I<J<KE8D<8E;K?<K<OK
KLIEJP<CCFNKF@E;@:8K<K?<GI<J<K?8J9<<EDF;@X<;9LKEFKP<KJ8M<;1?<8:BLG -I<J<K8CJF9<:FD<J
K?< =FID>C< 98:B 8E; =FIK? KF ?<8I K?<
;@==<I<E:<9<KN<<E K?<FI@>@E8C 8E;DF;@X<;GI<J<KJFE8@I9PJ@DGCP:C@:B@E>K?<98:BLG 9LKKFE KFJN8G
the current and backup slots.
?8E><J KF<8:? G8I8D<K:FI<GIFM@;@E>8E@EJK8EKM@JL8C:FDG8I@JFE
9<KN<<EK?<DF;@X<;GI<J<K8E;K?<FI@>@E8CGI<J<KLGFEN?@:?@K@J98J<;
You can also compare the differences between the Current Preset and the Backup Preset by selecting
the Diff Preset button. Any control settings in the Current Preset that are different from those in the
8:BLG -I<J<KN@CC 9< ;@JGC8P<; @E P<CCFN @E K?<@I I<JG<:K@M<J<:K@FEJ &E 8;;@K@FE K?<98:BLG M8CL<F=
each control is indicated by a small arrow on the bottom of the control itself.
Selecting the Delete Preset button allows you to permanently delete user-created presets. Factory
presets cannot be deleted.
Save Preset Menu
The Save Preset menu allows you to edit the name of or save over a user preset.
R 6FL :8E I<E8D< PFLI :LII<EK GI<J<K I<>8I;C<JJ F= N?<K?LG K?<FEJ:I<<EB<P9F8I;1PG<@EK?<E<NE8D<
J<C<:KT,(U8E;J<C<:K08M<-I<J<K1?<E<NGI<J<KN@CCEFN8GG<8I@EK?<C@JK
R &=PFLI LII<EK-I<J<K?8J9<<EDF;@X<;PFL8CJF?8M<K?<FGK@FE KFNI@K<FM<IK?<<O@JK@E>GI<J<K
without renaming it by selecting Save Preset.
1?8KJ8@;N<JKIFE>CPI<:FDD<E;K?8K8=K<IPFLWM<D8;<JFD<8;ALJKD<EKJ8E;8I<I<8;PKFJ8M<K?FJ<
changes to a Custom Preset you give it a unique name and instead of saving directly over your current
M<IJ@FE 1?8K N8P J?FLC; K?<I< :FD< 8 K@D< N?<E PFL N8EK KF I<M<IK KF 8 GI<M@FLJ @E:8IE8K@FE F= 8
GI<J<KPFL:8E;FJF6FL:8EEFK?FN<M<I@=PFL:FEK@EL8CCPJ8M<FM<IK?<J8D<GI<J<KK?IFL>?FLKPFLI
8;ALJKD<EKGIF:<JJ@EJK<8;F=>@M@E>@K8LE@HL<E8D<
(<<G@ED@E;K?8KPFL:8EEFK>@M<8 LJKFD-I<J<KK?<J8D<E8D<8J8E<O@JK@E>#8:KFIP-I<J<K
43
Preset Protection Menu
The Preset Protection *<EL 8CCFNJPFL KF G8JJNFI;GIFK<:K 8 GI<J<KJF K?8K@K:8EEFK9<DF;@X<;FI
:FG@<;=FILJ<@E8EFK?<I,DE@8&E 8;;@K@FEK?<J<KK@E>J=FIK?@JGI<J<KN@CC9<?@;;<E=IFDM@<N8JCFE>
as the preset is locked.
1FG8JJNFI;GIFK<:K 8 GI<J<K<EK<I8 G8JJNFI;:C@:B FE T,(U8E;K?<EFE T-IFK<:K-I<J<KUN8IE@E>
;@8CF>L< 9FO N@CC 8GG<8I &= PFLI @EK<EK@FE I<8CCP @J KFGIFK<:KK?<GI<J<K J<C<:K T6<JU1?< XE8C JK<G @J
J8M@E>K?<E<NGIFK<:K<;GI<J<KN@K? 8LE@HL<E8D<@EK?<08M<-I<J<KD<EL-IFK<:K<;GI<J<KJ8GG<8I
in green in the Load Preset menu. Remember not to accidentally leave an unencrypted version your
GI<J<K@EK?<8:BLG-I<J<KJCFK
1FLEGIFK<:K8GI<J<KI<KLIEKFK?<-I<J<K-IFK<:K@FED<EL<EK<IPFLIG8JJNFI;:C@:BFET,(U8E;K?<E
on “Unlock Preset.”
Phase Processing Menu
The Phase Processing D<EL :FEK8@EJ K?< :FEKIFCJ =FI <E89C@E> K?< G?8J< J:I8D9C 8E;
8;ALJK@E>K?<G?8J<IFK8KFI8E;<E89C@E>8E;8;ALJK@E>K?<8JJ"#5:FEKIFC
44
R The Phase Scrambler button enables or disables the phase scrambler. Certain sharp sounds with
?@>? ?8IDFE@: :FEK<EK JL:? 8J KILDG<KJ FI JFD< JPEK?<J@Q<; JFLE;J 8I< CFN @E <EP 9LK
:FEK8@E?@>?G<8BJ0@E:<G<8BJDLJK9<C@D@K<;KFGI<M<EKFM<I;<M@8K@FEF=K?<#*:8II@<I8E;K?<
D8AFI@KPF=K?FJ<G<8BJN@CC9<I<DFM<;9P:C@GG@E>K?<JFLE;D8P9<:FD<;LCC8E;;@JKFIK<;1?<
-?8J< 0:I8D9C C@D@K@E> FI :C@GG@E> F= @KJ FNE JC@>?KCP F==J<KJ K?< M8I@FLJ
?8IDFE@:JGI<J<EK@E K?<8L;@FKF;I8JK@:8CCP CFN<IK?<G<8B C<M<CK?<I<9P8CCFN@E>DL:? DFI<F=
K?<8L;@FKFG8JJK?IFL>? K?<XE8C:C@GG<I1?<I<JLCK@J8 ;I8D8K@:8CCP@DGIFM<;?@>? <E;8E;C<JJ
distortion.
R The Phase Rotator button enables or disables the phase rotator. Phase rotation is recommended
primarily for stations airing talk programming who are also trying to achieve high levels of loudness
8J@K:8E8;M<IJ<CP8==<:KKI8EJ@<EKTGLE:?U;<J@I89C<FEDLJ@: =FID8KJ1?<)<M<C0C@;<I8;ALJKJK?<
amount of phase rotation. Carefully monitor the MPX Output signal on the oscilloscope while
C@JK<E@E>KF;IPMF@:<8E;8;M8E:<K?<JC@;<IALJK<EFL>?KF8:?@<M<JPDD<KI@:8CG<8BJ1?<;<=8LCK
setting is 2.
R The Bass-EFX D<EL 8CCFNJ PFL KF <E89C< FI ;@J89C<K?<8JJ"#5 =<8KLI< 8E;N?<E <E89C<;
8;ALJKK?<C<M<C F=8JJ"#5 GIF:<JJ@E>4?<E LJ<;@E :FEALE:K@FE N@K? ?<8M@8JJ"#5?<CGJI<K8@E K?<GLE:? F=CFN=I<HL<E:PKI8EJ@<EKJJL:?8JK?FJ<=FLE;@E8
B@:B ;ILD9PJGI<8;@E>K?<98JJ<EPFLK@EK@D<K?LJ8CCFN@E>DFI<F=K?<<EPF=898JJB@:B
to pass through the clippers. Bass-EFX does not itself add energy.
Downward Expanders Menu
The Downward Expanders D<EL 8CCFNJ PFL KF :FEKIFC K?< D8O@DLD >8@E I<;L:K@FE ;FNEN8I;
<OG8EJ@FE=FI8CC98E;J@E K?<!FNEN8I;"OG8E;<IJJ<:K@FE 8JN<CC8JK?<K?I<J?FC;8KK8:B 8E;I<C<8J<
JG<<;J=FI<8:?@E;@M@;L8C98E;1?<KFK8CELD9<IF=98E;J8M8@C89C<@EK?<!FNEN8I;"OG8E;<IJJ<:K@FE
is determined by the number of bands of processing used in the Current Preset.
1?<!FNEN8I; "OG8E;<IJ FG<I8K<J @E 8 D8EE8K<U 8E; @J LJ<=LC =FI
reducing unwanted background noise from less-than-perfect program material or from a noisy studio
<EM@IFED<EK1?<I8K@FF=K?<J<<OG8E;<IJ@J
R The Maximum Gain Reduction control determines the greatest amount of gain reduction for all
available bands.
45
R The Threshold :FEKIFC =FI <8:? 98E;J<KJ K?<GF@EK 8K N?@:? ;FNEN8I; <OG8EJ@FE 9<>@EJ1?<
range of this control is from -90 to 0dB. The Threshold (Coupled) control allows all bands to be
8;ALJK<;J@DLCK8E<FLJCP9P8E@;<EK@:8C8DFLEK
R The Attack :FEKIFC;<K<ID@E<JK?<JG<<;N@K?N?@:? K?<!FNEN8I;"OG8E;<IJ8:KKFI<;L:<>8@E
in each band when the program audio falls below the threshold. Lower settings provide slower
8KK8:BJG<<;JN?@C<?@>?<IJ<KK@E>JI<JLCK@E=8JK<I8KK8:BJG<<;J
R The Release:FEKIFC ;<K<ID@E<JK?<JG<<;N@K?N?@:?K?<!FNEN8I;"OG8E;<IJ8:KKFI<KLIE >8@E
to each band when the program audio rises above threshold. Lower settings provide slower release
JG<<;JN?@C<?@>?<IJ<KK@E>JI<JLCK@E=8JK<II<C<8J<JG<<;J
Input AGC Menu
The Input AGC *<EL @J LJ<; KF J<K K?< I8K@F D8O@DLD >8@E 8KK8:B I8K< I<C<8J< I8K< K8I><K >8K<
K?I<J?FC;=I<<Q<K?I<J?FC;8E;J@;<:?8@E<HL8C@Q<I:FEKIFCJ
1?<&EGLK$ @JK?<XIJK>8@E :FEKIFCJK8><@E ,DE@8 =FCCFN@E>2E;F8E;@J;<J@>E<;KF9<LJ<;8J8
slower-acting leveler ahead of the Wideband AGC1 and multiband compressor sections that follow it.
It is worth noting that traditional processors only act upon audio above a particular threshold. They are
;I@M<E@EKFM8I@FLJ8DFLEKJF=>8@E I<;L:K@FE9LKFE:<K?<8L;@F=8CCJ 9<CFNK?<K?I<J?FC;K?<PTILE FLK
F=IFFDUFI TKFG FLKU8E;8I<@E:8G89C<F=@E:I<8J@E>K?< 8L;@F8EP =LIK?<I1?<PI<HL@I<JFD<JFIKF=
make-up gain control later in the audio chain. The compressors in Omnia.9 operate above AND below
K?I<J?FC;:FEKIFCC@E>K?<;PE8D@:JFM<I8DL:?N@;<II8E><8E;;FEFKI<HL@I<D8B<LG>8@E
R The Ratio control determines how much the output audio will be increased or decreased in
I<C8K@FEJ?@G KFK?<@EGLK8L;@FF=K?<&EGLK$ J<:K@FE#FI<O8DGC<8I8K@FF=D<8EJ=FI<M<IP
; F= :?8E>< @E K?<C<M<C F=K?<@EGLK8L;@F K?< FLKGLKN@CC 9<:?8E><; 9P ; )FNJ GIFM@;<C<JJ:FEKIFC F=K?<;PE8D@:J@E K?@JJ<:K@FE9LKGIFM@;<8DFI<FG<EJFLE;N?@C<
?@>??K<IJ<KK@E>JGIFM@;<DFI<:FEKIFC8KK?<<OG<EJ<F=FG<EE<JJ1?<I8E><F=K?@J:FEKIFC
@JKF&EXE@KP
R The Maximum Gain :FEKIFC NFIBJ @E :FEALE:K@FE N@K? K?</8K@F :FEKIFC KF ;<K<ID@E< ?FN DL:?
>8@E @J 8M8@C89C< 9<CFN K?I<J?FC; &= K?< &EGLK $ /8K@F @J J<K 8K &EXE@KP 8E; K?< &EGLK $ *8O@DLD$8@E@JJ<KKF;K?<&EGLK$ ?8J; F=I8E><9<CFNK?I<J?FC;K8I8K@FF=
8E;K?<J8D<*8O@DLD>8@E J<KK@E>K?<I8E><@JI<;L:<;9P?8C=KF;1?<J:8C<KFK?<C<=KF=
46
K?<&EGLK$ D<K<J 8I<D8;<KFK?< &EGLK$ *8O@DLD $8@E FI K?<&EGLK$ /8K@F KF 8::LI8K<CP I<Y<:K ?FN DL:? I8E><@J 8M8@C89C< 9<CFN
threshold.
R The Attack control determines the speed with which the Input AGC acts to reduce audio above
threshold. Lower settings represent slower attack speeds and allow more audio to pass
unprocessed by the Input AGC into subsequent processing stages. Higher settings result in faster
attack speeds and allow less unprocessed audio to enter subsequent sections. Because all of
,DE@8WJ GIF:<JJ@E>JK8><J8I<KFJFD< <OK<EKGIF>I8D;<G<E;<EK GLKK@E> 8:KL8C D<8JLI<JF=
K@D<FEK?<J<:FEKIFCJNFLC;9<GF@EKC<JJ8E;JFK?<ELD9<IJFEK?<M8I@FLJKK8:B 8E;/<C<8J<
controls throughout are simply relative numbers.
R The Release control determines the speed with which the Input AGC increases audio below
K?I<J?FC; )FNJ GIFM@;< JCFN?J I<JLCK @E =8JK?J GIFM@;< 8 ?@>?<I FLKGLK C<M<C 1?@J @J J@D@C8I KF 8 KI8;@K@FE8C
“threshold” control when the levels are below the target.
R The Gate Threshold and Freeze Threshold controls work together to determine the points at
N?@:?K?<I<C<8J<I8K<F=K?<&EGLK$ JCFNJ9P8=8:KFIF= >8K<K?I<J?FC;FI=I<<Q<J8CKF><K?< F= K?<J<:FEKIFCJ@J; KF; )FNJD<8EJK?<8L;@F
DLJK;IFG KF8 CFN?J D<8EJ K?<
audio doesn’t have to drop as much in level before the input AGC gain slows down or stops. Using
higher settings when employing faster Input AGC release speeds can keep the audio from being
@E:I<8J<;KFFHL@:BCPFI KFFDL:? ;LI@E>HL@<K<JFI G8LJ<J&= K?< ;@JGC8P @J J@Q<;8E;
:FEX>LI<; @E JL:? 8 N8P K?8K K?<&EGLK$ D<K<I @J J?FNE M<IK@:8CCP 8 $8K< :FE;@K@FE N@CC 9<
@E;@:8K<;9P8;@D;8IBI<;98I8KK?<9FKKFDF=K?<D<K<I#I<<Q<:FE;@K@FEN@CC9<@E;@:8K<;9P8
brighter dark red bar.
R 1?<&EGLK$ =<8KLI<J8 =LCCP8;ALJK89C<98E;Sidechain EqualizerN?@:?8CCFNJPFL KFD8B<
it more or less sensitive to particular frequencies. When the controls are not set to cut or boost any
=I<HL<E:P K?<&EGLK$ I<8:KJ KFK?< =LCC 8L;@F JG<:KILD4?<E J<K KF:LKFI 9FFJK8 G8IK@:LC8I
I8E><F==I<HL<E:@<JK?<&EGLK$ 9<:FD<JC<JJJ<EJ@K@M<:LKFIDFI<J<EJ@K@M<9FFJK
&E JFD<<8IC@JN<I<8 F:K8M<N@;<:LKF=; 8K%Q8E;
8F:K8M<N@;<:LKF=;8K%Q
&E8;;@K@FE8E8JJFIKD<EKF=GI<:FEX>LI<;XCK<IJ8I<8M8@C89C<@E:CL;@E>8 )FN-8JJ#@CK<I8%@>?
-8JJ#@CK<I88E;-8JJ#@CK<I8+FK:?#@CK<I8)FN0?<C=".8E;8%@>?0?<C=".
R The Type;IFG;FNED<EL;<K<ID@E<JN?8KKPG<F=".FIXCK<I@J<DGCFP<;
R The Frequency slider is used to set the center frequency for each band. The range of this
:FEKIFC@JKF%Q
R The Width slider determines how much audio above and below the center frequency will also
be affected by any boosts or cuts in gain. The range of this control is 0.0 to 10.0 octaves in oneK<EK?F:K8M<@E:I<D<EKJ)FN<IM8CL<J GIFM@;<8 E8IIFN?<I
values provide a wider (gentler) boost or cut.
47
R The Gain slider determines how much the audio selected with a combination of the Frequency
and Width sliders is boosted or cut. Each band can be boosted or cut by 12dB in one-quarter
dB increments for a total range of 24db per band.
R Note: You can see a visual representation of the sidechain EQ curve in a display window
DB8=6 &<=80OB 1D8;C8= )+ 1H =0E860C8=6 C> $ 'A>24BB8=6 8B?;0H *4CC8=6B 0=3
27>>B8=6 C74*8342708= *8342708=>?C8>= 5D;; 4G?;0=0C8>=>5 8B?;0H *4CC8=6B 8B
provided later in this chapter.
Wideband AGC1 Menu
The Wideband AGC1 D<EL GIFM@;<J 8::<JJ KF K?< J@;<:?8@E ;<C8P D8O@DLD >8@E D8O@DLD >8@E
I<;L:K@FEI8K@F8KK8:BI<C<8J<GIF>I<JJ@M<I<C<8J<K8I><K>8K<K?I<J?FC;=I<<Q<K?I<J?FC;8E;K?I<<
98E;J@;<:?8@EG8I8D<KI@:<HL8C@Q<I:FEKIFCJ
R The Wideband AGC1 Enable9LKKFE<E89C<JK?@JJ<:K@FEN?@:?=FCCFNJK?<&EGLK$ J<:K@FE8E;
provides additional wideband compression as determined by its various controls. Disabling the
Wideband AGC1 also makes this patch point unavailable in an oscilloscope or RTA display window.
R The Bypass9LKKFE I<DFM<JK?<4@;<98E;$ :FDGI<JJFI =IFD K?<8L;@FG8K?9LK@KJG8K:?
point remains an available option for viewing on the oscilloscope or RTA via the Display Settings
menu.
R The Sidechain Delay feature is useful for both adding punch and managing the amount of low
frequency power (while increasing bass punch). This is an especially useful “trick” for maintaining
apparent loudness when operating under MPX Power regulations.
R The Maximum Gain Ratio Attack rate Release I8K< Target Gate Threshold 8E; Freeze
Threshold controls work in the same manner as their counterparts in the other sections of the
,DE@8%FN<M<IK?<*8O@DLD$8@E:FEKIFC@EK?<4@;<98E;$ J<:K@FE?8J8I8E><F=;
R The Maximum Gain Reduction:FEKIFCJ<KJK?<D8O@DLD8DFLEKF=>8@EI<;L:K@FE GFJJ@9C<@EK?<
4@;<98E;$ :FDGI<JJFI8E;@J8;ALJK89C<=IFDKF;@EFE<HL8IK<I;@E:I<D<EKJ
R The Progressive Release control determines the degree to which the Wideband AGC1
compressor releases its gain at a faster rate as the audio is driven further toward or into gain
I<;L:K@FEK8J<KK@E>F=K?<:FEKIFC?8JEF<==<:K8E;K?</<C<8J<JG<<;:FEKIFC=LCCP;<K<ID@E<J
48
the rate of release. Increasing the setting progressively makes the release speed of the audio faster
as gain decreases.
R The 3-band Sidechain Equalizer can be used to make the Wideband AGC1 more or less sensitive
KFK?<=I<HL<E:@<J ;<K<ID@E<;9P K?<#I<HL<E:P4@;K?8E;$8@E :FEKIFCJN?@:? =LE:K@FE <O8:KCP
like their counterparts in the Input AGC section above. A PEQ preview patch point similar to the one
described in the Input AGC section is also available here.
Parametric Equalizer Menu
The Parametric Equalizer D<EL 8CCFNJ PFL KF J<K LG K?< 98E; G?8J<C@E<8I G8I8D<KI@: <HL8C@Q:FI<&E8;;@K@FE8E 8JJFIKD<EKF=
GI<:FEX>LI<;XCK<IJ8I<8M8@C89C<@E:CL;@E>8 )FN-8JJ#@CK<I8 %@>? -8JJ#@CK<I8 8E;-8JJ#@CK<I8
+FK:?#@CK<I8)FN0?<C=".8E;8%@>?0?<C=".
R The Bypass9LKKFEI<DFM<JK?<<HL8C@Q<I=IFDK?<8L;@FG8K?
R The Type;IFG;FNED<EL;<K<ID@E<JN?8KKPG<F=".FIXCK<I@J<DGCFP<;
R The Frequency slider is used to set the center frequency for each band. The range of this control is
KF%Q
R The Width slider determines how much audio above and below the center frequency will also be
affected by any boosts or cuts in gain. The range of this control is 0.0 to 10.0 octaves in one-tenth
F:K8M< @E:I<D<EKJ )FN?<I M8CL<J
provide a wider (gentler) boost or cut.
R The Gain slider determines how much the audio selected with a combination of the Frequency and
Width sliders is boosted or cut. Each band can be boosted or cut by 12dB in one-quarter dB
increments for a total range of 24db per band.
CK?FL>? :?8E><J D8;<@E K?< G8I8D<KI@: <HL8C@QI<<PFL D@>?K<OG<:K98J<;LGFEPFLI
<OG<I@<E:<N@K? FK?<I GIF:<JJFIJ1?<G8I8D<KI@: <HL8C@Q<I @E ,DE@8 @J8 M<IPM<IJ8K@C<8E;GFN<I=LC
tool for creating your on-air sound. A visual representation of the effects of the PEQ using the built-in real
K@D<8E8CPQ<I:8E9<J<<E@EK?</1GFIK@FEF=K?<!@JGC8P0<KK@E>JJ<:K@FEF=K?@JD8EL8C
49
Stereo Enhancer Menu
,DE@8 F==<IJ8 LE@HL<DLCK@98E;0K<I<F"E?8E:<IN?FJ<KFK8C ELD9<IF=98E;J@J;<K<ID@E<;9PK?<
ELD9<IF=98E;JF=GIF:<JJ@E>LJ<;@EK?< LII<EK-I<J<K/<>8I;C<JJ@KE<MI8P<;FLK1?@J8GGIF8:? J@>E@X:8EKCPI<;L:<JK?<
:?8E:<K?8KHL@<K<I?8I;G8EE<;JK<I<FJFLE;J@E 8I<:FI;@E>N@K?8JKIFE>:<EK<I<;DFEFJFLE;N@CC9<
shifted out of phase and offers much greater control over the stereo enhancement available in various
portions of the spectrum.
R The Stereo Enhancer D<EL >@M<J PFL 8::<JJ KF K?< 18I><K *8O@DLD $8@E *8O@DLD $8@E
/<;L:K@FEKK8:BJG<<;8E;/<C<8J<JG<<;F=<8:?F=@KJ98E;J
R The Enable control turns the Stereo Enhancer on or off.
R The Target Width control determines the ratio of L+R to L-R. Higher settings provide more stereo
<E?8E:<D<EK;ALJKK?@J:FEKIFC:8I<=LCCPKF8MF@;KLIE@E>K?<JK<I<F@D8><T@EJ@;<FLKU9P8CCFN@E>
L-R to overpower L+R which ruins mono compatibility and increases multipath distortion.
R The Maximum Gain control determines how much the Stereo Enhancer can increase L/R
separation in an effort to achieve the Target Width in program material that has a narrow stereo
image. The range is between 0 and 18dB.
R The Maximum Attenuation control determines how much the Stereo Enhancer can reduce L/R
separation in an effort to achieve the Target Width in program material that already has a wide
stereo image. The range is between 0 and 18dB.
R The Attack control determines the speed at which the stereo image is narrowed. The Release
control determines the speed at which the stereo image is widened.
R The Target Width:FLGC<;Maximum Gain:FLGC<;Maximum Attenuation:FLGC<;Attack
(coupled) and Release:FLGC<; :FEKIFCJ8CCFN PFL KF8;ALJK8CC K?<98E;J J@DLCK8E<FLJCP 9P 8E
equal amount in their corresponding sections.
Multiband Setup Menu
The Multiband Setup menu provides control over the number of processing bands employed as well as
K?<D8O@DLD >8@EGIF>I<JJ@M<I<C<8J<>8K<K?I<J?FC;=I<<Q<K?I<J?FC; 8E;>8K<;<C8P:FEKIFCJCJF
found here are the enable buttons for gain reduction override and controls for the gain reduction ratio.
50
R The Band slider determines the number of bands in the multiband processing section and ranges
from 2 to 7.
R The Maximum GainRatio Gate Threshold8E;Freeze Threshold controls work in the same
manner as their counterparts in other sections of the Omnia.9.
R The Gate Delay:FEKIFC ;<K<ID@E<J ?FN CFE>K?<$8K<1?I<J?FC;8E;#I<<Q<1?I<J?FC; :FEKIFCJ
wait before they begin working. The range of this control is between 0 and 255ms. Setting the
control to “0” means that as soon as audio falls below the threshold as determined by the settings
F=K?<$8K<8E;#I<<Q<:FEKIFCJ@K@DD<;@8K<CPJCFNJFIJKFGJI<JG<:K@M<CP%@>?<IJ<KK@E>JD<8E@K
will take longer for the release of the audio to slow or stop. A Gate condition will be indicated by a
;@D;8IB I<;98I8KK?<9FKKFD F=K?<DLCK@98E;D<K<IJ#I<<Q<:FE;@K@FE N@CC 9<@E;@:8K<;9P8
brighter dark red bar.
R Note: *4CC8=6C740C44;0H<D27;>F4AC70=C743450D;CB4CC8=6>5<BF8;;20DB4C7460C4C>
take effect during the brief pauses in dry speech, resulting in a much lower volume level from
an announcer mic, for instance, as compared to music. Used creatively, this is actually a very
DB45D;C>>;5>A2>=CA>;;8=60==>D=24A
<DB82;4E4;10;0=24
R The Progressive Release control determines the degree to which the Multiband compressor
releases its gain at a faster rate when the audio is driven further toward or into gain reduction. At a
J<KK@E>F= K?<:FEKIFC ?8J EF<==<:K8E;K?</<C<8J< JG<<;:FEKIFC =LCCP ;<K<ID@E<JK?<I8K<F=
release both below and above threshold. Increasing the setting progressively makes the release
speed of the audio faster as gain decreases.
R The Gate Threshold and Freeze Threshold controls work in the same manner as their
counterparts in the other sections of the Omnia.9.
R The Gain Reduction Ratio Override and Gain Reduction Ratio controls work together to let you
J<K8;@==<I<EKI8K@F=FI <8:?98E;N?<E 8L;@F@EK?8K98E;:IFJJ<J89FM<K?I<J?FC;SK?8K@JN?<E
it is driven into gain reduction. The ratio for audio below threshold is always determined by the
/8K@F :FEKIFC =FI 8CC 98E;J 0G<:@X:8CCP K?< $8@E /<;L:K@FE /8K@F ,M<II@;< :FEKIFC <E89C<J FI
;@J89C<J K?< $8@E /<;L:K@FE /8K@F :FEKIFCJ N?@:? 8I<JC@;<IJ K?8K C<K PFL J<K K?< I8K@FF= 8L;@F
above threshold from 1:1 to Inf:1.
51
It is worth mentioning again here the importance of a concept unique to Omnia.9. Most (if not all) other
GIF:<JJFIJTKFGFLK8KUSK?8K@JK?<P:FEJK8EKCPFG<I8K<@E8JK8K<F=>8@E I<;L:K@FE8E;FE:<K?<8L;@F
=8CCJ 9<CFN K?I<J?FC; K? >8@E K?8@EU :FEKIFC JFD<N?<I< ;FNEJKI<8D @E K?<
8L;@F:?8@EKF><KK?<C<M<CJ98:B LG,DE@8@JEFKFECP:8G89C<F=>8@EI<;L:K@FESK?8K@J;I@M@E>8L;@F
C<M<CJ89FM<K?I<J?FC;8J FK?>8@E 9<CFN K?I<J?FC;
which makes it possible to employ powerful controls like Progressive Release and Gain Reduction Ratio
Override.
Multiband Attack/Release Menu
The Multiband Attack/Release section lets you control the Attack Speed and Release Speed of each
band in the multiband AGC section.
R The Attack speed and Release speed controls work in the same manner as their counterparts in
K?< FK?<I J<:K@FEJ F=K?< ,DE@8%FN<M<IK?< 9<?8M@FI F= K?< DLCK@98E;$ :FDGI<JJFIJ@J
also program-dependent.
R The Attack (coupled) :FEKIFC 8CCFNJ PFL KF 8;ALJK K?< 8KK8:B JG<<; F= 8CC F= K?< 98E;J
simultaneously by an equal amount.
R The Release (coupled) :FEKIFC 8CCFNJ PFL KF 8;ALJK K?< I<C<8J< JG<<; F= 8CC K?< 98E;J
simultaneously by and equal amount.
R The Speed (coupled) :FEKIFC8CCFNJPFL KF8;ALJK9FK?K?<KK8:B JG<<;8E;/<C<8J<JG<<;F=8CC
the bands simultaneously by an equal amount.
R The Peak Sense (Coupled) :FEKIFC J@DLCK8E<FLJCP 8;ALJKJ K?< 8KK8:B 8E; I<C<8J< I8K<J 9LK @E
opposition to one another. Sliding the control to the right increases the attack rate and slows the
I<C<8J<I8K<D8B@E>@KDFI<G<8BJ<EJ@K@M<0C@;@E>K?<:FEKIFCKFK?<C<=K;<:I<8J<JK?<8KK8:BI8K<
8E;JG<<;JLGK?<I<C<8J<I8K<D8B@E>@KC<JJG<8BJ<EJ@K@M<
1?<8KK8:B8E;I<C<8J<JG<<;JF=K?<DLCK@98E;C@D@K<IJ8I<GIF>I8D;<G<E;<EK8E;EFK8;ALJK89C<
Multiband Thresholds Menu
The Multiband Thresholds menu allows you to set the target for each of the Multiband AGC bands as
well as the threshold for each band of the Multiband Limiters. The total number of bands available in the
52
Multiband Thresholds section is determined by the number of bands of processing used in the Current
Preset.
R The AGC Target controls set the target output level of each band of the Multiband AGC. A lower
J<KK@E>GIFM@;<J 8 CFN? GIFM@;<J8 ?@>? 8L;@F=FI @KJ G8IK@:LC8I 98E; I<C8K@M< KF @KJ :FII<JGFE;@E>$ 18I><K #FI <O8DGC< 8
setting of +6dB means that any peaks of less 6dB above the AGC Target level will not be processed
by the limiter. These controls have a range between +18 and 0dB in one-tenth dB increments.
Dry Voice Detection Menu
The Dry Voice Detection*<EL :FEK8@EJK?<:FEKIFCJKF<E89C<K?<;IP MF@:<;<K<:KFI:@I:L@K8E;8;ALJK
the dynamics section of Omnia.9 when this feature is engaged.
!IPMF@:< @J FE<F= K?< DFJK;@=X:LCK N8M<=FIDJ KF GIF:<JJ :C<8ECP8J K?<?LD8E MF@:<@J :FDGC<O @E
nature and is typically asymmetrical in form. Stations that choose to process aggressively in an effort to
53
D8O@D@Q< CFL;E<JJ D8P XE; K?8K 98I< MF:8CJ :FD< K?IFL>? N@K? LE8::<GK89CP ?@>? C<M<CJ F= 8L;@9C<
distortion.
Omnia.9 overcomes this situation by automatically detecting (in the Auto mode) when the input audio is
;IPMF@:<8E;LJ@E>8 J<G8I8K<J<KF=DLCK@98E;K8I><KJ8KK8:B I8K<J8E;I<C<8J<I8K<J1?@J8CCFNJK?<
dynamics section to do more of the “heavy lifting” and reduces the amount of clipping necessary to
maintain the same level of loudness.
R The Dry Voice;IFG;FNED<EL:8E9<J<KKFT,==UTLKFUFIT#FI:<UT,==U:FDGC<K<CPKLIEJF==K?@J
feature. “Auto” allows the processor to automatically detect the presence of dry voice. “Force”
FM<II@;<J K?<D8@E DLCK@98E;J<KK@E>J 8E;LJ<JK?<!IP3F@:<!<K<:K@FE J<KK@E>J8K 8CCK@D<J1?<
;<=8LCKJ<KK@E>;<G<E;JLGFEGI<J<K:?FJ<EDFJKGI<J<KJ?8M<K?@J=<8KLI<;J<KKFT,==U9P;<=8LCK
N?@C<K?<;<=8LCKJ<KK@E>=FIDFI<8>>I<JJ@M<CFL;E<JJ;I@M<EGI<J<KJ@JTLKFU
R The AttackRelease TargetLimiter ThresholdAttack (Coupled)Release (Coupled)Speed
(Coupled) and Target (Coupled) :FEKIFCJ GIFM@;< I<C8K@M< 8;ALJKD<EKJ I<=<I<E:<; KF K?<@I
counterparts in the Multiband section.
R The Peak Sense (Coupled) :FEKIFC J@DLCK8E<FLJCP 8;ALJKJ K?< 8KK8:B 8E; I<C<8J< I8K<J 9LK @E
opposition to one another. Sliding the control to the right increases the attack rate and slows the
I<C<8J<I8K<D8B@E>@KDFI<G<8BJ<EJ@K@M<0C@;@E>K?<:FEKIFCKFK?<C<=K;<:I<8J<JK?<8KK8:BI8K<
8E;JG<<;JLGK?<I<C<8J<I8K<D8B@E>@KC<JJG<8BJ<EJ@K@M<
Wideband AGC2 Menu
The Omnia.9’s Wideband AGC2 control allows you to insert one additional AGC processing stage into the
chain as outlined in detail below.
The Wideband AGC2 D<EL GIFM@;<J 8::<JJKF K?< KI8EJ@<EK<E?8E:<D8O@DLD >8@ED8O@DLD >8@E
I<;L:K@FEI8K@F8KK8:BI<C<8J<GIF>I<JJ@M<I<C<8J<K8I><K>8K<K?I<J?FC;=I<<Q<K?I<J?FC;8E;K?I<<
98E;J@;<:?8@EG8I8D<KI@:<HL8C@Q<I:FEKIFCJ
R The Bypass9LKKFE I<DFM<JK?<4@;<98E;$ :FDGI<JJFI =IFD K?<8L;@FG8K?9LK@KJG8K:?
point remains an available option for viewing on the oscilloscope or RTA via the Display Settings
menu.
54
R The Transient Enhance Maximum Gain Ratio Attack JG<<; Release JG<<; Target Gate
Threshold, and Freeze Threshold controls work in the same manner as their counterparts in the
Wideband AGC1 section.
R The Wideband AGC2 dropdown control enables or disables the Wideband AGC2 section and
allows you to choose whether it is situated before or after the Multiband AGC section or used as a
dedicated Bass Compressor.
R If you use the AGC2 as a Bass Compressor@KN@CC9<J@KL8K<;8=K<IK?<*LCK@98E;J<:K@FE 9LKN@CC
8==<:KFECPK?<CFNK?<
XE8C:C@GG<IFILJ@E><O:<JJ@M<CP=8JK8KK8:B 8E;I<C<8J<JG<<;J@E K?<CFN<I98E;JF=K?<*LCK@98E;
AGC.
R Bass OnlP T,U <DGCFPJ 8 J@;<:?8@E XCK8@EJFFECPK?<CFN<I=I<HL<E:@<J8I<:FDGI<JJ<;89FM<K?I<J?FC;
R Bass Wideband T4U 8CJF <DGCFPJ 8 J@;<:?8@E XCK >F8C 8J @K :FLC;8CCFN =LCCJ:8C<
98JJ 8L;@F@E :@I:LDJK8E:<J N?<E K?<I<@JEFD@;I8E><FI KI<9C<8L;@FGI<J<EK%FN<M<IK?<I<
will be less bass present in situations when there are other frequencies present.
Wideband AGC3 Menu
The Wideband AGC3 D<EL FG<I8K<J @E K?< J8D< D8EE<I 8J 4@;<98E; $ N@K? 8CC F= K?< J8D<
:FEKIFCJ 9LK N@K? FE< ;@==<I<E:< &K :8EEFK 9< LJ<; 8J 8 N@;<98E; :FDGI<JJFI 9<=FI< K?< DLCK@98E;
J<:K@FEFECP8=K<I&K:8E?FN<M<I9<LJ<;@EK?<8JJ,ECPFI8JJ4@;<98E;DF;<ALJKC@B<4@;<98E;
AGC2.
Band Mix Menu
The Band Mix*<EL8CCFNJPFL KF8;ALJKK?<XE8CFLKGLKF=<8:?98E;8=K<I8CC4@;<98E;8E;*LCK@98E;
processing has been applied. It can be used very effectively to tailor the overall spectral balance of your
JFLE; 9LK B<<G @E D@E; K?8K K?@J @J K?< XE8C GF@EK F= 8;ALJKD<EK 9<=FI< K?< 8L;@F I<8:?<J K?< #@E8C
C@GG<I#*:FI<FI#@E8C)@D@K<I%!8E;0KI<8D@E> FI<J&EFK?<INFI;JC<M<CJ@E:I<8J<;@EK?<8E;
*@OJ<:K@FE :8E FECP 9<:FEKIFCC<; 9P XE8C :C@GG@E>FI XE8C C@D@K@E> N?@:? D8PI<JLCK @E LE<OG<:K<; FI
LEN8EK<;;<EJ@KPFEJFD<D8K<I@8CJF:8I<@JI<HL@I<;N?<ED8B@E>8;ALJKD<EKJ?<I<
55
R Each Band Level control has a range of -12 to +12dB in one-quarter dB increments.
R The Band Mix (coupled) :FEKIFC 8CCFNJ PFL KF 8;ALJK K?< FLKGLK F= 8CC 98E;J @E K?< 8E; *@O
section simultaneously and by an equal amount.
Clipper Menu
The Clipper MenuGIFM@;<J:FEKIFC F=K?<XE8C :C@G ;I@M<98JJ:C@GG?=I<HL<E:PGIFK<:K@FE8E;GIFK<:K@FE
R The Final Clip Drive:FEKIFC J<KJ K?< ;I@M<F= K?< XE8C :C@GG K?<;I@M<DFM@E> K?<
JC@;<IKFK?<C<=KI<;L:<JK?<8DFLEKF=:C@GG@E> FEM<IJ<CP@E:I<8J@E>K?<;I@M<DFM@E>K?<JC@;?K N@CC I<JLCK @E DFI<:C@GG@E>)<JJ:C@GG@E> N@CC I<JLCK @E 8 DFI< FG<E C<JJGIF:<JJ<;
:C<8E:8E I<JLCK@E 8 CFL;0;BC74A42><4B0?>8=CF74=C74P=0; F0E45>A< 8B 2><?;4C4;H5D;;0=38=2A40B8=6C740<>D=C
of clipping will no longer yield additional loudness – only more distortion. We strongly recommend
LJ@E>,DE@8WJFJ:@CCFJ:FG<8JN<CC8JPFLI<8IJKFDFE@KFIK?<*-5,LKGLKJ@>E8CN?@C<8;ALJK@E>
K?<XE8C:C@G;I@M<1?@J:FEKIFCI8E><J=IFDKF
@E FE<HL8IK<I; @E:I<D<EKJN?@:?J?FLC;
give you the (correct) impression that small changes make a big difference in the sound. Keep in
56
D@E;K?8K8J<KK@E>F=
D<8EJK?<:FEKIFC@J8KK?<D@;;C<F=@KJI8E><9LK;F<JEFKE<:<JJ8I@CP
mean that no clipping is taking place.
R The Bass Clipper Slope control determines the slope characteristics of the bass clipper.
R Slope 1@JXCK<I<;8K8M<IPCFN=I<HL<E:PJFK?8KK?<CFN98JJJK8PJT:C<8EU <M<EN?<E:C@GG<;
?8I;%FN<M<IJFD<F=K?<D@;98JJN@CCG8JJK?IFL>?K?<:C@GG<IN?@:?D8PI<JLCK@E DFI<F=
K?<XE8CN8M<=FID9<@E>K8B<E LG9P K?<98JJ#FI C@>?K<IGIF:<JJ@E>J<KK@E>J0CFG< F==<IJ
the cleanest and punchiest bass sound.
R Slope 2 ?8J8 ?@>?DFI<:FEKIFC FM8T;@IK@<IU98JJJFLE;N@K?DFI<?8IDFE@:J,E:<IK8@E=FID8KJFIN?<EC@JK<E@E>
FE8JD8CC<II8;@FK?@JD8P9<8;<J@I89C<<==<:K
R Slope 1+2 is simply Slope 1 followed by Slope 2. Most of the low bass will be controlled by
0CFG< 8E;JK8PE@:< 8E; :C<8E N?@C<K?<I<D8@E@E> 98JJ N@CC 9<K8B<E :8I<F= 9P0CFG<
N@K?FLK8==<:K@E>K?<CFN 98JJ&=PFL 8I<LJ@E>?<8M@K?@JFGK@FE N@CC>@M<
you the cleanest sound.
R The Bass Clipper Threshold control sets the threshold of the Bass Clipper. Raising the threshold
DFM@E>K?<JC@;G<I=FID<;9P K?< 8JJ C@GGI<8K<I9LI;<EFEK?<#@E8C C@GGK?<K?I<J?FC;DFM@E>K?<JC@;<IKF
K?<I@>?KN@CCP@<C;DFI<98JJ:C@GG@E>N?@:? K8B<JJFD<F=K?<CF8;F==K?<#@E8C C@GG<I9LKD8P
result in low frequency distortion if set too low.
R The LF Protection Threshold HF Protection Threshold 8E; A15 Protection Threshold
:FEKIFCJ8;ALJKK?<I<JG<:K@M<:C@G C<M<CJF=K?<K?I<<GIFK<:K@FE:C@GG<IJJ@KL8K<;8?<8;F=K?<XE8C
:C@GG ?@>? =I<HL<E:@<J 8E; M@:< M<IJ81?<
M8I@FLJ =I<HL<E:@<J @E K?< XE8C N8M<=FID N@CC 8CN8PJ 9< MP@E> =FI JG8:< @E K?< XE8C :C@GG K?< K?I<J?FC;J KFF ?@>? 9P 8;M8E:@E> K?<J<
controls too much will cause the sound to become dull and dense. These are very critical controls
8E; 8CCFN PFL KF ;<K<ID@E< <O8:KCP N?8K >F<J @EKF K?< XE8C :C@GGCP I<:FDD<E;
listening very carefully to the sound with your ears and watching the waveform on the oscilloscope
very carefully when setting these controls.
R The LF Protection Threshold:FEKIFCJ=I<HL<E:@<J9<KN<<E8E;%QK?FL>?8L;@F@EJFD<
of these frequencies will already have been dealt with by the bass clippers. The range of this
control is -12.0dB to +12.0dB in one-tenth dB increments.
R The HF Protection Threshold :FEKIFCJ =I<HL<E:@<J 9<KN<<E 8E; %Q1?< I8E><F=
this control is -12.0dB to +12.0dB in one-tenth dB increments.
R The A15 Protection Threshold :FEKIFCJ =I<HL<E:@<J9<KN<<E 8E; %Q ,DE@8 @J
HL@K< :8G89C< F= G8JJ@E> 8L;@F @E <O:<JJ F= K?< KI8;@K@FE8C B%Q :LKF== =FLE; @E FK? F= J8P ; 8CCFNJ
these additional high frequencies to pass through while making sure the pilot is well protected. The
range of this control is between -24.0dB and 0.0dB in one-tenth dB increments.
Display Settings Menu
The Display Settings*<EL8CCFNJ PFL KF:LJKFD@Q<N?8K@J ;@JGC8P<;@E LG KF ;@==<I<EKN@E;FNJFE
screen at the same time.
57
"8:? F=K?<J@O!@JGC8P9LKKFEJ8CCFNJPFL KF:?FFJ<N?@:? GIF:<JJ@E>G8I8D<K<IJFIM@JL8C@Q8K@FEJ=IFD
one of Omnia.9’s valuable built-in diagnostic tools are viewable in each window. The ten main groups are
2E;F *<K<IJ -IF:<JJ@E> *<K<IJ &EGLK *<K<IJ )FL;E<JJ *<K<IJ *F;LC8K@FE )<M<C 8J 98I >I8G?
D<K<IJ*F;LC8K@FE8J8ELD<I@:I<8;FLK,J:@CCFJ:FG</18E;##10G<:KILDE8CPQPFLIGIF:<JJ@E>
D<K<IJ8E;J<KK@E>J=IFD:LI@FLJ<P<J
Since Omnia.9 can display such a wide variety of information about your station’s audio processing and
J@>E8C@K8CCFNJPFLKF:I<8K<8E;J8M<LG KFJ@ODisplay PresetsN?@:?8I<8CN8PJM@J@9C<@EK?<KFG I@>?K
portion of the display. Any changes you make to the display settings are saved as you make them for that
particular preset.
#FI <O8DGC< PFL D8P N@J? KF ;<MFK< FE<GI<J<K KF EFK?@E> 9LK K?< 2E;F 8E;-IF:<JJ@E>*<K<IJ KF
;@JGC8PK?<J<G8I8D<K<IJ@E>I<8KI8D @EGLKK?< FLKGLKF=2E;F K?<*-5 9<=FI<K?<:C@GG<I8E;K?<*-5 FLKGLKKFJ<<
what the various stages within Omnia.9 are doing to the audio signal. The combinations are endless and
PFLIJKF:LJKFD@Q<KFJL@KPFLIG8IK@:LC8IE<<;J8E;GI<=<I<E:<J
Undo Meters Menu
The Undo Meters 9LKKFE 8CCFNJ PFL KF ;@JGC8P K?< 8:K@M@KP F= K?< <EK@I< 2E;FJ<:K@FE 4?@:? JG<:@X:
Undo meters are displayed within this window is determined by settings in the Undo Metering portion of
K?<D8@E2E;FD<ELN?@:?@JCF:8K<;@E,DE@8WJ&EGLKJ<:K@FE=LCC<OGC8E8K@FEF=K?<2E;FD<K<IJ@J
given in the section dedicated to using Undo.
R The Delay :FEKIFCN?@:? @J8CJFGI<J<EK@E 8E;:FLGC<;KF K?<-IF:<JJ@E>*<K<IJ,J:@CCFJ:FG<
/18E;##1 0G<:KILDE8CPQ #FI <O8DGC< @=PFL 8I<C@JK<E@E>KF 8 JKI<8D N@K? 8 J<:FE; ;<C8P @K
NFLC;9<@DGFJJ@9C<KFGIFG<ICP8;ALJKK?<GIF:<JJ@E>@=K?8KDL:? K@D<G8JJ<;9<=FI<PFL 8:KL8CCP
?<8I;N?8KPFLN<I<J<<@E>FEK?<D<K<IJP8;M8E:@E>K?<!<C8P:FEKIFCKFDJN?8KPFLI
58
<P<JJ<<FEK?<D<K<IJN@CC :F@E:@;<N@K? N?8KPFLI<8IJ8I<?<8I@E>(<<G @E D@E;?FN<M<IK?8K
any changes you make to the processing will still take 10 seconds to be audible.
Processing Meters Menu
The Processing Meters menu allows you to display the levels and activity of Omnia.9’s various gain
stages and processing sections.
Input Meters Menu
The Input Meters menu allows you to monitor the audio levels entering Omnia.9 with ITU BS.1770
bargraph meters.
59
Loudness Meters Menu
The Loudness Meters D<EL GIFM@;<J J<G8I8K<CFL;E<JJ D<K<IJ =FI -IF>I8D &EGLK*-5 ,LKGLK)/
,LKGLK8E;@=<E89C<;K?<FLKGLKC<M<CJF=<OK<IE8C><8I=<<;@E>,DE@8WJ*-58E;*-5@EGLKJ
60
Modulation Meters Menu
The Modulation Meters menu displays the modulation levels of the MPX output of Omnia.9 as well as
any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a bar graph.
Modulation Numeric Menu
The Modulation Numeric menu indicates the modulation levels of the MPX output of Omnia.9 as well as
any processor or applicable tuner feeding the MPX1 or MPX2 inputs as a numeric value relative to a
100% scale. The percentage of modulation occupied by the pilot and the L/R Demod level is also
displayed.
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Oscilloscope Menu
The Oscilloscope menu allows you to monitor a very wide variety of input and output points from various
stages of Omnia.9’s processing sections on the built-in oscilloscope.
R The Delay control works the same here as it does previous and subsequent display sections.
62
R The Oversampling :FEKIFC <E89C<J FI ;@J89C<J K?< FJ:@CCFJ:FG<WJ O FM<IJ8DGC@E> =LE:K@FE
4@K?FLKFM<IJ8DGC@E>JFD<G<8BJD8PG8JJK?IFL>?N@K?FLK9<@E>;@JGC8P<;>@M@E>8E @E8::LI8K<
view of the signal. This is most critical when monitoring the MPX Output or the L/R Pre-emphasis
,LKGLK%FN<M<IJ@E:<FM<IJ8DGC@E>:FEJLD<JDFI< -2I<JFLI:<J@K@JKLIE<;F==9P;<=8LCK
R The Phosphor Persistence:FEKIFC8;ALJKJ?FNCFE>C8K<EK@D8><JI<D8@EFEK?<J:I<<EJ<KK@E>
of 0 provides no image delay at all and offers the greatest amount of visual detail for the current
information on the scope. Higher settings allow images of signal that has already passed through
the scope to remain on the screen for progressively longer periods of time. Setting this control all
K?<N8PKFK?<I@>?KB<<GJK?<@D8><=IFD=8;@E>8K8CCLJ<=LC=FI:8K:?@E>G<8BJ
R The Gain:FEKIFC8;ALJKJK?<6J:8C<F=K?<FJ:@CCFJ:FG<8E;DFM<JK?<>I@;I<C8K@M<KFK?<J@>E8C
R The Lines:FEKIFC8;ALJKJK?<F==J<KF=K?<I<=<I<E:<C@E<J8JD<8JLI<;@E;
R The Zoom :FEKIFC 8CCFNJPFL KF:?FFJ<9<KN<<E 8 O O 8E;O M@<NF= K?<5 J:8C< J@D@C8IKF
setting the sweep time of a traditional oscilloscope.
R The I/O (Input/Output) Menu allows you to view the audio signal at various points of the Program
&EGLK*-5,LKGLK)/,LKGLK*-5&EGLK*-5&EGLK8E;-I<<DG?&EGLKG8K?J
R From the Program InputG8K:?GF@EKPFL:8EM@<NK?<C<=KFII@>?K@EGLK8L;@FJ@>E8C
R From the MPX Output G8K:? GF@EK PFL :8E M@<N K?< *LCK@GC<O C<=K ;<DF;LC8K<; I@>?K ;<
DF;LC8K<; C<=K ;<<DG?8J@Q<; FI I@>?K ;<<DG?8J@Q<; 8L;@F J@>E8C 8J N<CC 8J K?< G@CFK KFE<
F9K8@E<;K?IFL>? 8 9I@:B N8CCG?8J<C@E<8I98E;G8JJXCK<I=IFD S%Q 8E;K?<*-5
J@>E8CD@ELJ0 :8II@<IJF9K8@E<;K?IFL>?89I@:BN8CCG?8J<C@E<8ICFNG8JJXCK<I8K%Q
R From the L/R OutputG8K:?GF@EKJPFL:8EM@<NK?<FI@>@E8CGI<<DG?8J@Q<;C<=KI@>?K8L;@FJ@>E8C
K?<;<<DG?8J@Q<;C<=KI@>?K8L;@FJ@>E8C8JN<CC8JK?<*-5J@>E8C8JK<I<F:F;<;M<IJ@FEF=K?<
GI<<DG?8J@Q<;C<=KI@>?K8L;@FJ@>E8CJ
R From the MPX Input 1 and 2 G8K:? GF@EKJPFL :8E M@<NK?<*LCK@GC<OC<=K;<DF;LC8K<;I@>?K;<
DF;LC8K<;C<=K;<<DG?8J@Q<;FI I@>?K;<<DG?8J@Q<;8L;@FJ@>E8C8J N<CC 8J K?<G@CFKKFE<8E;
MPX signal minus SCA carriers.
R The Pre-emph Input8CCFNJPFL KFM@<N K?<FI@>@E8CGI<<DG?8J@Q<;C<=KI@>?K8L;@FJ@>E8CK?<;<
<DG?8J@Q<; C<=KI@>?K8L;@FJ@>E8C8J N<CC 8JK?<*-5 J@>E8C8 JK<I<F :F;<;M<IJ@FE F=K?<GI<
<DG?8J@Q<; C<=KI@>?K 8L;@F J@>E8CJ 1?< GI<<DG? @EGLK @J J@D@C8I KF K?< *-5 &EGLKJ 9LK @J
JG<:@X:8CCP=FILJ<N@K? K?<)/ ,LKGLKJ=IFD8EFK?@K8C@EGLKJ9LKJ@E:<@K@JEFK! :FLGC<;@K@JEFK;<J@>E<;KF9<LJ<;N@K? K?<
analog input.
R From the De-clipperG8K:?GF@EKPFL :8EM@<NK?<8L;@FJ@>E8C9<=FI<FI8=K<I;<:C@GG@E>@E <@K?<I
the left or right channels.
R The Undo Pre patch points allow you to view the audio signal from each of the 5 individual bands
F=K?<2E;FJ<:K@FE 8=K<I K?<;<:C@GG<I9LK9<=FI<2E;FWJDLCK@98E;<OG8EJ@FE@E<@K?<I K?<C<=KFI
right channel.
R The Undo Post patch points allow you to view the audio signal from each individual band or the
combined output of all bands of the Undo section after the de-clipper AND after Undo’s multiband
<OG8EJ@FE@E<@K?<IK?<C<=KFII@>?K:?8EE<C
63
R The Undo Control Signal patch points allows you to view the control signal from each of the
individual bands in either the left or right channel.
R The Miscellaneous patch points allows you to view the audio signal from various other points in
K?<J@>E8CG8K?@E:CL;@E>8=K<I@EGLKXCK<I@E>8=K<IK?<DLCK@98E;J<:K@FE8=K<IK?<98JJ:C@GG<I8=K8J 8E *-5 J@>E8CN@K? EF@J<@EA<:K@FE8E; 8K K?< GIF>I8D G8JJK?IFL>?
point.
R From the MPX DecodedD<ELPFL:8EM@<NK?<;<:F;<;C<=KFII@>?K:?8EE<CF=K?<*-5FLKGLKF=
Omnia.9 as well as devices connected to the MPX1 and MPX2 inputs.
R The Physical Inputs D<EL ;@JGC8PJ K?< C<M<CJ F= K?< 8:KL8C I<8I G8E<C @EGLKJ @E:CL;@E> *8@E
!@>@K8C"0 /<=<I<E:<LO !@>@K8C 8E;E8CF>1?<J<G8K:? GF@EKJ8I< DFJKLJ<=LC N?<E LJ@E>
K?< +=/<DFK< :C@<EK FM@E8C LE;<:F;<; :FLEK<IG8IKJ D8P 9< EFK 9<
8M8@C89C<@EK?<I<DFK<CP;L<KF@EJL=X:@<EKE<KNFIB98E;N@;K?
R The Sidechain (SC) menu allows you to display left- and right-channel audio signals from both the
J@;<:?8@EJ 8E; FLKGLK J<:K@FEJ F= K?< &EGLK $ 4@;<98E; $ 4@;<98E; $ 8E;
Wideband AGC3 compressors.
R From the Multiband SoloD<EL8L;@F=IFD8EPFE<F=K?<98E;J@EK?<DLCK@98E;:FDGI<JJFI:8E
be displayed. The number of available bands is determined by the number of bands employed in
the current preset.
R The Monitor Out menu allows you to view the input (source) and output audio signals of the
0G<8B<I%<8;G?FE<8E;LODFE@KFIGF@EKJ@E<@K?<IK?<C<=KFII@>?K:?8EE<C
Below are some examples of how to use the oscilloscope:
As a High Frequency Headroom Monitor:
R Display the Left or Right Demod signal from the MPX Output menu
R Set Oversampling to “On”
R Set Phosphor Persistence to 50
R Set Gain to -3
R Set Lines to -1
R 0<K7FFDKFO
<CFN @J 8 :FDG8I@JFE F= K?@J J@>E8C KF K?< GI<<DG?8J@Q<; FLKGLK JF PFL :8E J<< ALJK ?FN DL:?
8;;@K@FE8C%#?<8;IFFD,DE@8WJ:C@GG<IGIFM@;<J
As a Pilot Protection Monitor:
R Display the MPX Output
R Set Oversampling to “Off”
R Set Phosphor Persistence to 40
64
R Set Gain to 0
R Set Lines to 0
R 0<K7FFDKFO
+FK<K?8KN?8KPFL8I<J<<@E>?<I<@JK?<8:KL8CG@CFK<OKI8:K<;=IFDK?<<EK@I<*-5J@>E8C
RTA Menu
The RTA menu allows you to monitor many of the same sources as those mentioned in the Oscilloscope
D<EL J<:K@FE1?< ?FI@QFEK8C J:8C<8CFE>K?<9FKKFD F= K?</1J:I<<E J?FNJ =I<HL<E:@<J =IFD KF
%Q1?<M<IK@:8CJ:8C<8CFE>K?<C<=KJ@;<J?FNJK?<8DGC@KL;<F=K?<8L;@F@E;<:@9<CJ
R The RTA Resolution control lets you choose between a 1/3 and 1/6 octave display.
R The Averages control can be used to slow down or speed up the RTA’s display response. A lower
8M<I8><J<KK@E>=8JK?K9<DFI<LJ<=LC =FI G<8B DFE@KFI@E>N?@C<8 ?@>?<J 8I< 8CJF LJ<=LC =FI 8;ALJK@E>CFN =FI JG<8B8I;C<JJ F= ?FN K?<M<I8><J :FEKIFC @J J<K K?< /1D8@EK8@EJ 8 ?@JKFIP
T9L==<IUF= =I8D<J;M8E:@E>K?<:FEKIFCKF N@CC@DD<;@8K<CP;@JGC8PK?<8M<I8><F=K?<
C8JK=I8D<J
R The Target control moves the dark red target window and/or the amplitude scale up and down
N@K?@EK?<;@JGC8P8LJ<=LCKFFC=FI<JK89C@J?@E>8K8I><KN?<EG<I=FID@E>JG<8B<I:8C@9I8K@FE
R The Range:FEKIFC8CCFNJPFL KFM@<N89IF8;<IFIE8IIFN<II8E><F=8L;@F@E;@:8K<;9PK?<I8E><
scale along the left side of the display.
R The Target Range 8;ALJKJ K?< ?<@>?K F= K?< K8I><K N@E;FN N@K?@E 8 ; I8E>< @E ?8C=;<:@9<C
increments. Lower settings are better suited to more precise measurements. Moving the Target
Range slider all the way to the left hides the target window.
Below is an example of how to use the RTA menu:
To see a visual representation of a parametric EQ (PEQ) setting:
R Display the MB DRC Solo menu and select PEQ Preview
R Set Resolution to 1/6 octave
R 0<KM<I8><JKFKFT=I<<Q<UK?<;@JGC8P
You will now be able to see the curve of the PEQ in the RTA display window. You can also view the curves
of each band of the multiband compressor by selecting one of the Solo band buttons. Since the Solo
98E;JI<C8K<KF8 ;PE8D@: J<:K@FEF=K?<GIF:<JJ@E>:FI<CFN<I@E>K?<M<I8><JJC@;<IN@CCP@<C;DFI<F=8
“real time” view.
FFT Spectrum Analyzer Menu
The FFT menu allows you to monitor the same sources as those mentioned in the Oscilloscope menu
section.
66
R The Resolution:FEKIFCJ<C<:KJK?<ELD9<IF==I<HL<E:P98E;J@EKFN?@:?K?<8L;@F@J;@M@;<;O
I<JFCLK@FE >@M<J PFL 8 I<=I<J? I8K< F= 8GGIFO@D8K<CP =I8D<J GK?<<EK@I<8L;@FJG<:KILDOI<JFCLK@FEJ>@M<JPFL8I<=I<J?I8K<F=
8GGIFO@D8K<CP=I8D<JG<IJ<:FE;9LK8DL:?XE<I=I<HL<E:PI<JFCLK@FE
R The Decay Rate:FEKIFC 8;ALJKJ ?FN HL@:BCP K?<;@JGC8PN@CC =8CC 8=KJ8I<K?<JCFN<JKN?@C<K?<?@>?<JKJ<KK@E>@J@EJK8EK8E<FLJ
R The Peak Hold control enables or disables the ability to indicate and hold the highest peak
achieved. Peak Hold is displayed in the dark green background layer.
R The X-Center control centers the display at the selected frequency.
R The X-Width:FEKIFCJ<KJK?<;@JGC8P<;=I<HL<E:PI8E><@EB%Q
R The Y-Center control centers the display vertically around the selected level in dB.
R The Y-Range control sets the displayed level range in dB.
R The dB Scale Position:FEKIFC8CCFNJPFL KFDFM<K?<; J:8C<?FI@QFEK8CCPKF8;@==<I<EKGC8:<@E
the display. Advancing the control completely to the right places it in front of the graph at all times.
Below are some examples of how to use the FFT menu:
As a pilot protection monitor:
R 0<K/<JFCLK@FEKFO
R Set Decay Rate to 6
67
R
R
R
R
R
R
Set Peak Hold to “On”
0<K5 <EK<IKFB%Q
0<K54@;K?KFB%Q
Set Y-Center to -90dB
0<K6/8E><KF;
Set dB Scale Position to 36
To display the RDS subcarrier:
R Set the Resolution and Decay rate to any setting
R Set Peak Hold to “Off”
R 0<K5 <EK<IKFB%Q
R 0<K54@;K?B%Q
R Set Y-Center to -80dB
R Set Y-Range to 100dB
R Set dB Scale Position to 100
68
Chapter 10: FM Menu - Processing for ITU-R BS.412
Chapter 10
FM Menu
ITU-R BS.412 Processing /
MPX Power Limiting
M4E4;>?01D8;C8=*34C42C>ANA=4BC4<8=6F0H
69
The FM Menu:
Processing for ITU-R BS.412 / MPX Power Limiting
ITU-R BS.412 requires that the average MPX power be limited to a particular standard and measured
N@K?8IFCC@E>J<:FE;@EK<>I8K@FEK@D<%FN<M<IJ@E:<@K@J@DGFJJ@9C<KFBEFNN?8KC@<J8?<8;@E K<IDJ
F=:FEK<EKCFL;E<JJDLJK9<GI8:K@:8CCP9<:FEKIFCC<;N@K?@E8DL:?J?FIK<IG<I@F;F=K@D<TALJK@E:8JE@X:8EKCP C<JJGFN@J E<<;<; KF ;<C@M<I 8 :FDGC@8EK FLKGLK :FDG8I<; KFFK?F=98JJD8E8>@E>98JJ?<8MP:FEK<EKGI<J<EKJ8 JG<:@8C :?8CC<E><9<:8LJ<F=K?<8DFLEKF=
energy typically present in the lower frequencies. Most of Omnia.9’s “412” presets make use of the WB
AGC2 or WB AGC3 compressors in “Bass Only” mode. This allows the initial portion of the bass
N8M<=FIDKF9<D8E8><;9PK?<:C@GG<IN?@C<K?<I<D8@E;<I@JGIF:<JJ<;9PK?<:FDGI<JJFII<JLCK@E>@E
much higher levels of bass than would otherwise be possible under the limitations imposed by the
regulations.
1F GI<G8I< ,DE@8 KF FG<I8K< @E :FDGC@8E:< N@K? &12/ 0 *-5 -FNU 8=K)F8;-I<J<K*<ELK?8KK?<GI<J<KC@JK?8J9<<ELG;8K<;KF@E:CL;<
FECPK?FJ<JG<:@X:8CCP;<J@>E<;=FI0LJ<1?<I<@J8CJF8E8;;@K@FE8C-FN<I)@D@KD<ELFGK@FE
70
&E8;;@K@FEK?<-IF:<JJ@E>*<K<IJ;@JGC8PN@E;FNEFN @E:CL;<J8 D<K<I=FI K?<-FN<I)@D@KFLKGLKC<M<CJFM<IJ<:FE;J<:FE;8E;J<:FE;@EK<>I8K@FEK@D<J
FEKIFCJ=FI8;ALJK@E>K?<-FN<I)@D@K<I8I<=FLE;@EK?<#*-IF:<JJ@E>-FN<I)@D@KD<EL
R The Peak Limiter Drive:FEKIFCJ<KJK?<8DFLEKF=C@D@K@E>G<I=FID<;9PK?<XE8CG<8BC@D@K<IJ8E;
?8J8; I8E><8E;@J8;ALJK89C<@EFE<HL8IK<I; @E:I<D<EKJ1?<J<C@D@K<IJ8I<K?<J8D<KPG<
used in the HD and Streaming cores and are situated before pre-emphasis.
71
R The Power Limiter Drive control determines the amount of limiting performed by the MPX Power
)@D@K<IN@K?8I8E><F=;8;ALJK89C<@EFE<HL8IK<I;@E:I<D<EKJ
R Advancing the Punch (coupled) slider (moving it to the right) increases the Power Limiter Drive
while simultaneously reducing the Peak Limiter Drive by a corresponding amount which results in a
more open sound. Sliding the control to the left decreases the Power Limiter Drive and increases
the Peak Limiter Drive by a corresponding amount which results in a more dense sound.
R The Limiter Style drop-down menu provides a choice between Standard and Aggressive settings.
“Standard” is more gentle and less audible. “Aggressive” is more audible but allows you maintain
levels that are closer to the designated power limit.
72
Chapter 11
FM Menu
RDS
“Keep your eyes on the road, your hands
upon the wheel.” - Jim Morrison
73
The FM Menu: RDS
1?</!0:FEKIFC J<:K@FE F=,DE@8 :FEK8@EJK?<*8@E /!0D<ELX<C;J=FI -IF>I8D 0<IM@:<-0 8E;
/8;@F 1<OK /1 @E=FID8K@FE GIF>I8D @;<EK@X:8K@FE X<C;J J<C<:K89C< ;PE8D@: -IF>I8D 1PG< -16
J<C<:K89C<Y8>J8E;8J<:K@FE=FIJ<C<:K@E>8CK<IE8K@M<=I<HL<E:@<J
RDS Main Menu
The Main D<EL :FEKIFCJ 8CCFNPFL KF<E89C</!0 :?FFJ<K?<DF;<@E N?@:? @KFG<I8K<J 8E;J<K K?<
@EA<:K@FEC<M<C
R The Injection Level JC@;@J
4%.
R The RDS Mode drop-down menu allows you to choose from several different RDS options.
74
R 4?<EJ<KKF,==B%Q/!0@JKLIE<;:FDGC<K<CPF==9LKK?<8L;@F<OK<E;J8CCK?<N8PFLKKF
B%Q &K @J EFK I<:FDD<E;<; KF LJ< 8E <OK<IE8C /!0 <E:F;<I @E K?@J DF;< <M<E FE<
@EJK8CC<;8=K<I,DE@88JK?<8L;@F<OK<E;JG8IK@8CCP@EKFK?<GFIK@FE F=K?<JG<:KILDEFID8CCP
reserved for RDS.
R 4?<EJ<KKF,==B%QK?<8L;@F<OK<E;JFECPKFB%QKF8CCFN IFFD =FI/!0;8K8GIFM@;<;
9P 8E <OK<IE8C /!0 <E:F; K?@J DF;< ;F<J D<8E
CFJ@E>;F=JK<I<FJ<G8I8K@FE9<KN<<E8E;%Q
R &E K?< &EK<IE8C DF;< ,DE@8WJ 9L@CK@E /!0 <E:F;<I @J 8:K@M< <:8LJ< /!0 @J K8B<E @EKF
:FEJ@;<I8K@FE 9P K?<:FDGFJ@K<:C@GG<IK?<I<@JEFCFJJF=CFL;E<JJN@K? K?@J DF;<1?<I<=FI<
we highly recommend using the Internal mode whenever possible.
R 1?< "OK<IE8C &EGLK "OK<IE8C &EGLK 8E; "OK<IE8C &EGLK DF;<J ;<K<ID@E< N?@:? F=
,DE@8WJ*-5@EGLKJ8I<8:K@M<=FI/!0@EGLKN?<ELJ@E>8E<OK<IE8C<E:F;E8CK?<B%QG@CFK<OKI8:K<;=IFDK?<*-5J@>E8CFI8LE@HL<8E;
J<G8I8K<CP><E<I8K<;B%QG@CFKJ@>E8C
Using Omnia.9’s Built-In RDS Encoder
Using the built-in RDS encoder is the simplest and most straight-forward means of getting RDS data on
the air since everything is handled within Omnia.9 itself:
Using External RDS Encoders
&= PFL GI<=<E<I8K< /!0 ;8K8 <OK<IE8CCP @EJK<8; F= LK@C@Q@E> ,DE@8WJ 9L@CK@E <E:F;<I FI PFLI
situation dictates that you do) there are various options available for nearly every hardware and software
<E:F;<I8M8@C89C<0FD<:FDDFEJ:<E8I@FJ8I<FLKC@E<;9<CFNN@K? ;<K8@CJ89FLK?FNKFJ<K,DE@8WJ
various RDS controls for each situation.
Using an RDS Encoder with Omnia.9’s Psychoacoustic Composite Clipper
&K@JGFJJ@9C<KFLK@C@Q<8E<OK<IE8C/!0<E:F;<IN@K?FLKCFJ@E>8EPCFL;E<JJ9P@EK<>I8K@E>@KN@K?,DE@8
WJ :FDGFJ@K< :C@GG<E<I8K<;B%QJ@>E8C 8E;@EKLIE =<<;K?<FLKGLKF=K?<<E:F;<IN@K?/!08E;-@CFKKF
FE<F=,DE@8WJ*-5@EGLKJ,DE@8WJ*-5,LKGLKN@CC=<<;K?<<O:@K<I;@I<:KCP
75
<JLI<KF<E89C<K?<GIFG<I*-5@EGLK=FI/!0LJ<&EGLKFI&EGLK@EK?</!0*F;<D<EL8E;J<K
K?<*-5 ,LKGLK:FEKIFCKFK?<B%Q$<E<I8KFIDF;<1?<*-5 ,LKGLK:FEKIFC:8E 9<=FLE;@E K?<
/!0*<ELK?<#*-IF:<JJ@E>,LKGLKD<EL8E;@EK?<D8@E&,D<EL
J8E 8J@;<@KWJ@EK<I<JK@E>KFEFK<K?8K,DE@8 XCK<IJ K?<<OK<IE8C/!0JFK@>?KCPK?8K@=PFL :FEE<:K<;
K?<*-5FLKGLKF=8KLE<IDFE@KFI@E>8:FDGC<K<CP;@==<I<EKJK8K@FE@KN@CC9IF8;:8JKK?8KJK8K@FEWJG@CFK8E;
/!0;8K8
Using an RDS Encoder After Omnia.9
6FL :8E 8CJFLJ<8E /!0<E:F;JFD<8EJCFJ@E>CFL;E<JJJ@E:<,DE@8WJ
:FDGFJ@K<:C@GG<I:8EEFKGIF:<JJK?<=LCCP<E:F;<;J@>E8C&E K?@J:8J<,DE@8WJ*-5,LKGLKN@CC=<<;
K?<<E:F;<IWJ*-5 &EGLKN?@C<K?<*-5,LKGLKN@CC =<<;K?<-@CFK&EGLK0PE: F=K?<<OK<IE8C<E:F;<I
1?<FLKGLKF=K?<<E:F;<IN@CCK?<E=<<;K?<:FDGFJ@K<01)FI<O:@K<I&EK?@JJ:<E8I@FK?<*-5 ,LKGLK
control should be set to the MPX Pilot mode.
76
Using an RDS Encoder That Does Not Provide a Pilot Signal
0FD</!0<E:F;<IJK8B<K?<G@CFKJ@>E8CF=K?<GIF:<JJFILJ<@K8J8 JPE: I<=<I<E:<=FI/!08E;K?<E
output only the RDS data without passing the pilot.
1F;FJFPFL :8ELJ<81:FEE<:KFIFE,DE@8WJ*-5,LKGLK:FEE<:KFE<C<>F=K?<K<<KFK?<-@CFK
&EGLK0PE:FE K?</!0<E:F;<I8E;:FEE<:KK?<FK?<IKFFE<,DE@8WJ*-5 &EGLK1?<FLKGLKF=K?<
RDS encoder should be connected to Omnia.9’s MPX 2 Input.
&EK?@JJ:<E8I@FJ<KK?<*-5 ,LKGLK:FEKIFCKFK?<B%Q$<E<I8KFIDF;<8E;K?<"OK<IE8C&EGLKKFK?<
1+2 mode in so that both MPX inputs are enabled for RDS.
Flags Menu
The Flags *<EL F==<IJ <E89C<;@J89C< :FEKIFCJ =FI K?< /8;@F 1<OK 1I8=X: -IF>I8D 1@D< F;<
FDGI<JJ<;0K<I<FIK@X:@8C%<8;1I8=X:EEFLE:<D<EK8E;*LJ@:Y8>J
4?<E <E89C<; K?< /8;@F 1<OK /1 Y8> 8CCFNJ N?8K<MI8DD<; @EKF K?< /1 X<C; KF 9<
transmitted.
77
R The (@/4L1$@=5@/; ($ Y8>N?<E <E89C<;8CCFNJ C@JK<E<IJ KFXE;FECPJK8K@FEJ K?8KI<>LC8ICP
9IF8;:8JKKI8=X:9LCC<K@EJ
R 4?<E<E89C<;K?<1ime Code (CT) Y8>8CCFNJK@D<8E;;8K<@E=FID8K@FE N@K?@E K?</!0;8K8 KF
appear on the listener’s receiver.
R The Compressed ;<:F; @E
stereo (as opposed to mono).
R 4?<E <E89C<; K?< @B7L17/: 3/2 decoder information control indicates the use of a binaural
microphone.
R The (@/4L1<<=C<13;3<B(Y8>N?<E <E89C<;:8E JKFG K?<GC8P98:BF=FK?<ID<;@88 !
=FI <O8DGC<8E;KLE<@E 8 9IF8;:8JKJK8K@FE @EJK<8;N?<E8KI8=X: 9LCC<K@E @JI<:<@M<;1LIE@E>K?<
1I8=X:Y8>FE8E;F==:FLC;9<8LKFD8K<;K?IFL>?8I<HL<JKKF,DE@8WJ9L@CK@E?KKGJ<IM<I
R 4?<E <E89C<; K?< Music ;<:F;<I @E=FID8K@FE :FEKIFC @;<EK@X<J K?< JK8K@FE 8J FE< N?@:?
broadcasts primarily music content (as opposed to speech) which in turns allows the receiver to
:?FFJ<9<KN<<EK?<MFCLD<C<M<CJ=FI<8:?KPG<F=:FEK<EK1LIE@E>K?@JY8>FE 8E;F==:FLC;8CJF
be automated through a request to the http server.
Station ID Menu
The Station ID *<ELGIFM@;<JX<C;J=FI<EK<I@E>-IF>I8D 0<IM@:<-0 8E;/8;@F1<OK/1@E=FID8K@FE
as well as the Program Information (PI) Code.
78
1PG@:8CCP K?< $' L3:2 S 8E :?8I8:KI8D K?<-0X<C;@E JL:? 8 N8PK?8K@K:8E GIFM@;<8
9@KDFI<@E=FID8K@FE%<I<8I<JFD<N8PJKF:I<8K@M<CPLJ<K?<-0X<C;
P JGC@KK@E> K<OKN@K? K?< TU JPD9FC<8:? K<OK N@CC 8CK<IE8K<=FI J<:FE;J 4,*+#* #*+,4
WITH/OMNIA.9) or (WOMN-FM/TODAYS/HOTTEST/HITS)
1F:?8E><K?< 8DFLEK F=K@D<K?<K<OK@J ;@JGC8P<;GLKK?<;<J@I<; K@D<@E =IFEKF=K?<K<OK @E J<:FE;J
J4,*+#*J #*J,*+& &E K?@J <O8DGC< T4,*+#*U N@CC 9< ;@JGC8P<; =FI J<:FE;JT#*UN@CC9<;@JGC8P<;=FIJ<:FE;J8E;T,*+&UN@CC8GG<8I=FIJ<:FE;J
The&( L3:2GIFM@;<J8 :?8I8:K<&K:8E 9<JK8K@: KFGIFM@;<8 JK8K@FE JCF>8EFI
dynamic and in sync with station programming to provide song titles and artist information. Dynamic
updating is accomplished via the HTTP automation interface.
The $@=5@/;23<B7L1/B7=<X<C;J?FLC;:FEK8@EK?<-&:F;<LE@HL<KFPFLIJK8K@FE
Program Type Menu
The Program Type *<EL 8CCFNJ PFL KF :?FFJ< K?< /!0 DF;< 20 FI "LIFG< <E89C< !PE8D@:
-IF>I8D1PG<-168E;:?FFJ<8-16:F;<
79
4?<E <E89C<;Dynamic PTY indicates to listeners that the type of programming on your station may
:?8E><G<I@F;@:8CCP1?@JNFLC;9<LJ<=LC=FI8JK8K@FEK?8K=FI<O8DGC<9IF8;:8JKJDLJ@:;LI@E>K?<N<<B
but airs sports programming on the weekends.
The PTY Code drop-down menu provides you with a choice of 31 Program Type categories when using a
Static Program Type.
Alternative Frequencies Menus
&=PFL9IF8;:8JKK?<J8D<GIF>I8DD@E>FE DFI<K?8EFE<=I<HL<E:PPFL:8E K8B<8;M8EK8><F=8E /!0
receiver’s ability to search for and tune into up to 16 alternative frequencies when the signal of the current
frequency weakens. The Alternative Frequencies 1 & 2 menus allow you to specify those frequencies.
80
Chapter 12
FM Menu
MPX Inputs
*><0=H?>BB818;8C84B5A><CF><>34BC%902:B
81
The FM Menu: MPX Input
,DE@8 GIFM@;<J KNFI<8IG8E<C *-5 :FDGFJ@K< @EGLKJ N?@:? :8E 9<LJ<; =FI 8 M8I@<KP F= GLIGFJ<J
@E:CL;@E>LJ@E> 8E <OK<IE8C /!0<E:F;*<ELJ<:K@FE F=K?<:?8GK<IFEK?<0PJK<D*<EL
they can also be used to put some of Omnia.9’s built-in tools to good use.
#FI<O8DGC<PFL D8PN@J?KF:FEE<:K8 DF;LC8K@FE DFE@KFIFI8KLE<IN@K? 8E*-5 FLKGLKKFFE<F=K?<
@EGLKJ8E;K8B< 8 :CFJE8CJ @E PFLID8IB<KFE K?< FJ:@CCFJ:FG<FI JG<:KILD 8E8CPQ GIF:<JJFI @EKF K?< ,DE@8 KF :?<:B @KJ
G<I=FID8E:<,IPFL:FLC;M<I@=PK?<G<I=FID8E:<F=8E<OK<IE8CJK<I<F:F;<IK?8KPFLWI<GC8EE@E>KFLJ<
with the Omnia.9‘s L/R Output path and compare it to the performance of Omnia.9‘s built-in stereo coder.
MPX Inputs 1 and 2 are available as patch points which can be viewed on any of Omnia.9’s
instrumentations as well as auditioned through the monitor outputs using the built-in phase linear
reference quality stereo decoder.
1?<*-5 &EGLK *<EL :FEK8@EJ 8;;@K@FE8C D<ELJ =FI *-5 &EGLK *-5 &EGLK -I<<DG? &EGLK 8E;
Display Settings.
MPX Input 1 and MPX Input 2 Menus
The MPX Input 1 and MPX Input 2 D<ELJ:FEK8@EK?<:FEKIFCJKFJ<KK?<@EGLK>8@E:?FFJ<8GI<
<DG?8J@JC<M<C8;;;<C8P:FDG<EJ8K<=FIK@CK8E;8;;<HL8C@Q8K@FE
82
R The Input Gain slider sets the input level of each of the two MPX Inputs in a range from -12dB to
+18dB in one-tenth dB increments.
R The Pre-emphasis setting controls the de-emphasis circuit used when the MPX Input patch point
E<<;J KF 9<;<<DG?8J@Q<; JL:? 8J NFLC; 9<K?<:8J< N?<E @K@J J<C<:K<; 8J K?< JFLI:< @E 8
monitor input or if Left De-mod is selected when viewing the patch point in an oscilloscope display
N@E;FN1PG@:8CCP K?@J J?FLC;9< J<KKF D8K:? K?< GI<<DG?8J@J F= K?<@EGLK J@>E8C <@K?@E =IFD K?<<OK<IE8C *-5 &EGLKKF
match that of the Omnia.9.
R 0@E:<K?<FLKGLKJF=DFJKDF;LC8K@FEDFE@KFIJ8E;KLE<IJ?8M<JFD<K@CKGI<J<EK:FEKIFCJKF8;ALJK
compensate for Tilt Amount and (7:B =34L173I8DD@E>8E;?<8MPGIF:<JJ@E>=FIM@JL8CY8KE<JJ
FEK?<FJ:@CCFJ:FG<6FL:8E8CJFKLE<@EPFLIFNEJK8K@FEKFM<I@=P01)8E;<O:@K<IG<I=FID8E:<
R The PEQ 9LKKFE<E89C<JK?<98E;G8I8D<KI@: <HL8C@Q<I4?<EK?<-". @J<E89C<;K?<JC@;<IJKF
8;ALJKcenter frequencywidth8E;gain8I<8M8@C89C<KFD8B<8EPE<:<JJ8IP8;ALJKD<EKJ
R 1?<-". :8E9<J<KKF9<G?8J<C@E<8IG?8J<=FIN8I;FIG?8J<I<M<IJ<M@8K?<Phase drop-down
D<EL 9<CFNK?<>8@E JC@;<I1?<DFJKC@B<CP DF;< N@CC 9<G?8J<=FIN8I;KFD8K:? 8E 8E8CF>XCK@K8CXCK<I&=PFL ?8M<8E
<O:@K@K8CJPEK?<J@J <O:@K<E<I8KFI @E :FEALE:K@FE N@K? K?<*-5
&EGLK -". KF <HL8C@Q<K?<?@>? =I<HL<E:P I<JGFEJ<F= PFLI I<:<@MJ1?<-I<<DG? &EGLK @J J@D@C8I KFK?<*-5 &EGLKJ9LK@J JG<:@X:8CCP=FI
use with the L/R Outputs from another processor. This input can receive audio from any of the three
digital inputs. The analog input is not suitable as it is not DC coupled.
83
R The Physical Input control determines which rear-panel input is routed to the pre-emph input patch
point.
R The Source :FEKIFCJ<C<:KJN?<K?<IK?<@EGLKJFLI:<@JY8KFIGI<<DG?8J@Q<;
R The Pre-emphasis control should be set to match the amount of pre-emphasis the incoming signal
?8JFILJ<;KF?8M<@=@KN8J;<<DG?8J@Q<;GI@FIKF9<@E>=<;@EKF,DE@8
R The Add Delay control allows you to delay the audio coming in from the pre-emphasis input to
match that of the Omnia.9.
R The PEQ 9LKKFE<E89C<JK?<98E;G8I8D<KI@: <HL8C@Q<I4?<EK?<-". @J<E89C<;K?<JC@;<IJKF
8;ALJK :<EK8@E 8I< 8M8@C89C< KFD8B<8EP E<:<JJ8IP 8;ALJKD<EKJ1?<
-".:8E9<J<KKF9<G?8J<C@E<8IG?8J<=FIN8I;FIG?8J<I<M<IJ<M@8K?<;IFG;FNED<EL 9<CFN
the gain slider.
1?<!@JGC8P0<KK@E>JD<EL @J K?<J8D<D<EL =FLE;@E K?<-IF:<JJ@E>*<EL F= K?<-IF:<JJ@E>J<:K@FE
and is duplicated here for convenience.
84
Chapter 13 FM Menu - Meter Options
Chapter 13
FM Menu
Meter Options
Seeing what you hear.
85
The FM Menu: Meter Options
1?<*<K<I ,GK@FEJ*<EL :FEK8@EJJL9D<ELJ=FI *<K<I ,GK@FEJ1<JK,GK@FEJ)FL;E<JJ*8K:?<;
and Display Settings.
Meter Options Menu
4?@:? D<K<IJ 8I<;@JGC8P<;@E K?<)FL;E<JJ*<K<I*F;LC8K@FE *<K<I8E;*F;LC8K@FE +LD<I@: ;@JGC8P
windows are determined by enabling or disabling available options in this menu.
0G<:@X:8CCP
86
R Program Input is available only in the in the Loudness Meter display.
R MPX Output MPX Input 1 MPX Input 2 8E; Pre-emph Input are available in the Loudness
*<K<I*F;LC8K@FE*<K<I8E;*F;LC8K@FE+LD<I@:;@JGC8PJ
R The MPX Power MeterPeak Modulation MeterPilot Level Meter8E;L/R Level Meter can be
8;;<;KF K?<*F;LC8K@FE *<K*-5 ,LKGLK*-5
&EGLK8E;*-5&EGLK
R The MPX Power Numeric Peak Modulation Numeric Pilot Level Numeric 8E; L/R Level
Numeric can be added to the Modulation Numeric display of any enabled MPX section.
R The MPX Power Limit control sets the center of the MPX Power meter as well as whether the
numeric readout is green or red. This can be set differently from the MPX Power Limit control in the
#*-IF:<JJ@E>J<:K@FE8E;@J8M8@C89C<<M<EN?<E,DE@8@JEFKFG<I8K@E>@E *-5-FN<I*F;<
to provide a power measurement reference.
Loudness Matched A/B Menu
The ability to compare the sound of the input audio to the processed output audio is valuable when
8;ALJK@E>PFLIGIF:<JJ@E><:8LJ<K?<?LD8E<8IF=K<ED@J@EK<IGI<KJTCFL;<IU 8JT9<KK<IU=FIK?<XIJK=<N
J<:FE;J8=K<I@K?<8IJ8E<NJFLE;D8B@E>JLI<K?<8M<I8><C<M<CJF=K?<@EGLK8E;FLKGLK8L;@F:CFJ<CP
match eliminates that distraction so that your ear can concentrate on the other changes the processor is
D8B@E>KFK?<K<OKLI<;PE8D@:J8E;JG<:KI8C98C8E:<F=K?<8L;@F
&K@JGFJJ@9C<KFD8EL8CCP8;ALJK K?<J<C<M<CJ @E K?<*FE@KFI ,LKGLK *<EL 8JPFL JN@K:? 98:B 8E; =FIK?
9<KN<<E G8K:? GF@EKJ 9LK9<:8LJ<@EGLKC<M<CJ M8IP JFDL:? N@K?@E 8E; 9<KN<<E JFE>J K?@J :8E ><K
KI@:BPFIALJKGC8@E8EEFP@E>K?IFNJPFLI<8I =FI 8 DFD<EK8IPCFFG8E;K8B<JPFLID@E;F==K?<:8I<=LC
study of the changes you’re making to your processing.
1FD8B< :FDG8I@JFEJ<8J@<I,DE@8:8E8GGCP8LKFD8K@: C<M<C@E>KFJ<M<I8CB<P@EGLKG8K:?GF@EKJ
and makes those available here in the Meter Options Menu (for display purposes) as well as in each of
the Monitor Outputs menus.
J Note: +78B;4E4;8=65D=2C8>=05542CB&%#/C740D38>0E08;01;40CC74?0C27?>8=C C70B%&45542C>=
the on-air processing.
87
R The Integration Time setting controls the integration time of the two ITU BS.1770 loudness meters
K?8K=FID K?<98J@J =FI K?<CFL;E<JJ :FDG8I@JFE1?<CFL;E<JJ @J <HL8C@Q<;9P8 I8DG@E>>8@E KF
8::FLEK =FI K?< ;@==<I<E:< 9<KN<<E K?< KNF CFL;E<JJ D<K<IJ 1?< ;<=8LCK K@D< @J J<:FE; seconds is optional. The 1 second integration time will cause the leveler to respond to differences
@E C<M<C DFI<HL@:BCP GIFM@;@E>DFI<:FEJ@JK<EKC<M<CJ 9<KN<<E 8E;N?@C<K?< J<:FE;K@D<
will allow more level variation and reduces the likelihood of audible pumping.
R The Source control allows you to choose the audio source for the Loudness Matching patch point.
M8@C89C< FGK@FEJ 8I< -IF>I8D &EGLK *-5 &EGLK *-5 &EGLK -I<<DG? &EGLK 8E; -FJK
Multiband.
R The Match control allows you to choose which audio source to match the loudness of. Available
FGK@FEJ8I<*-5,LKGLK)/,LKGLK*-5&EGLK*-5&EGLK8E;-I<<DG?&EGLK
Test Options Menu
1?<1<JK,GK@FEJD<EL :FEK8@EJKNF:FEKIFCJK?8K8I<LJ<=LCFECP@E 8K<JKJ@KL8K@FE8E;?8M<EF<==<:K8K
all on the on-air output. The Test Input patch point activates automatically and does not use processing
power when inactive. Enabling the Always Active control in the Test Input menu forces this patch point to
remain active at all times and allows for cleaner A/B switching.
R MPX Noise Injection is useful when “racing” against your competition as received through a tuner
with a composite output connected to one of Omnia.9’s MPX Inputs. There is no such thing as
G<I=<:K I8;@F I<:<GK@FE 8E; JFD< EF@J< N@CC 8CN8PJ 9< GI<J<EK JF K?@J :FEKIFC ?<CGJ TC<M<C K?<
GC8P@E>X<C;U8 9@K 1FLJ<K?@J=<8KLI<J<KLG KNF##1 JG<:KILD8E8CPQ<I;@JGC8PJFE<CFFB@E>8K
*-5 ,LKGLK N@K? +F@J< 8E; K?< FK? 8K K?< *-5 &EGLK 1?<E LJ@E> K?< *-5 +F@J<
&EA<:K@FE :FEKIFCPFL :8EM@J@9CPD8K:? K?<EF@J<C<M<CF=K?<I<:<@M<;JK8K@FE JFK?8KPFL:8E "MPX Input" with "MPX Output with Noise" using either a monitor output or the client audio output.
This allows a much more carefully controlled and accurate comparison than simply changing
GI<J<KJFE 8 KLE<I<JG<:@8CCP J@E:<PFL :8E ?8M<KNFFJ:@CCFJ:FG<J J@;<9P J@;<;@JGC8P@E>9FK?
J@>E8CJKFD8B<JLI<K?8K9FK?8I<DF;LC8K@E>8KK?<<O8:KJ8D<G<8BC<M<C
R The Pass-Through Delay Time:FEKIFC 8;ALJKJ K?<;<C8P K@D< =FI K?< G8JJK?IFL>? G8K:? GF@EK
N?@:? :FEK8@EJK?<FI@>@E8CLEGIF:<JJ<;8L;@F9LKN@K?FLK :FDG<EJ8K@FE ;<C8P &K@JEFID8CCP @E
JPE:N@K?K?<&EGLKEFKK?<,LKGLK
88
J Note: 5H>D5443C74$'.B86=0;5A><0=>C74A?A>24BB>A8=C>>=4>5&<=80OB$'.8=?DCBC74
pass-through patch point can be used to feed the unprocessed program audio from Omnia.9
into the other processor. This is true even when Omnia.9 is using its internal playback and
regardless of which physical input is selected. The output of the other processor can be
monitored through Omnia.9’s Speaker or Headphone Monitor Output. The meters and controls
of the other process will be in real time, without delay, as the compensation delay will be before
the processor instead of after.
1?<!@JGC8P0<KK@E>JD<EL @J K?<J8D<D<EL =FLE;@E K?<-IF:<JJ@E>*<EL F= K?<-IF:<JJ@E>J<:K@FE
and is duplicated here for convenience.
89
Chapter 14 Studio Processing Menu
Chapter 14
Studio Processing Menu
“Talent is cheaper than table salt. What separates the
talented individual from the successful one
is a lot of hard work.” - Stephen King
90
The Studio Processing Menu
The Studio Processing Core is a low-latency processing core mainly designed for talent monitoring. Its
D<EL 8CCFNJPFLKF:?FFJ<K?<@EGLKJFLI:<CF8;8E;J8M<GI<J<KJ8E;D8B<:?8E><JKFK?<-8I8D<KI@:
"HL8C@Q :FI<FG<I8K<ALJK 8JK?<@I
:FLEK<IG8IKJ@EK?<#*-IF:<JJ@E>:FI<;F;<K8@C<;<OGC8E8K@FEF=<8:?D<EL 8E;:FEKIFC:8E9<=FLE;
8E; I<=<I<E:<; @E K?< #* -IF:<JJ@E> D<EL J<:K@FE F= K?@J D8EL8C 1?< <O:<GK@FE @J K?< 8E; *@O
:FEKIFCJ<OGC8@E<;9<CFN
R The Band Mix Menu:FEK8@EJK?<:FEKIFCJ=FI K?< @E;@M@;L8C 98E;FLKGLKC<M<CJK?<#@E8C )@D@K<I
!I@M<K?<,LKGLK)<M<C8E;8EFGK@FEKF<E89C<FI9PG8JJK?<*LCK@98E;)@D@K<IJ
91
R The Band Mix (coupled) JC@;<I8CCFNJ PFL KF8;ALJKK?<FLKGLKC<M<CJF=8CC 98E;J J@DLCK8E<FLJCP
"8:? 98E;:8E8CJF9<@E;@M@;L8CCP8;ALJK<;N@K? K?<Band 1 - Band 7 Level:FEKIFCJ;ALJKD<EKJ
here should be made carefully (especially additional gain) as the only processing stage following
this section is the Final Limiter.
R 1?<0KL;@FGIF:<JJ@E> :FI<;F<J EFK LJ< 8 XE8C:C@GG<I =FI G<8B :FEKIFC &EJK<8;@KLJ<J 8 CFFB
8?<8; C@D@K<I N?@:? @J 8;ALJK89C< 9P K?< Final Limiter Drive control and operates in a range
between -6.00 and +6.00dB in one-quarter dB increments. Reducing limiter drive (sliding the control
KFK?<C<=KI<;L:<JK?<8DFLEKF=C@D@K@E>8E;>@M<JPFL8DFI<FG<EJFLE;9LK8KK?<<OG<EJ<F=
FM<I8CC CFL;E<JJ FEM<IJ<CP @E:I<8J@E>C@D@K K?< JC@;?K N@CC I<JLCK @E
DFI<C@D@K@E>8E;8CFL;<IFLKGLK9LK8KK?<<OG<EJ<F=;PE8D@:J
R Enabling the Multiband LimitersGIFM@;<J8 G<8B C@D@K<IKFI@;<8KFG <8:? @E;@M@;L8C98E;J@D@C8I
KFK?<8II8E><D<EK@E K?<#*%!8E;0KL;@FGIF:<JJ@E>:FI<J!@J89C@E>K?<C@D@K<IJI<;L:<JK?<
already low latency times in the Studio processor core slightly.
92
Chapter 15 HD Processing Menu
Chapter 15
HD Processing Menu
!DBC;8:4?A>24BB8=65>A$
except for how it’s different.
93
The HD Processing Menu
1?< %! %! 8E; %! D<ELJ F= ,DE@8 GIFM@;< 8::<JJ KF 8CC J<:K@FEJ F= K?< %! GIF:<JJ@E>
:FI<J;<G<E;@E>LGFE:FEX>LI8K@FE#IFDK?@JD<ELPFL:8E :?FFJ<K?<@EGLKJFLI:<CF8;8E;J8M<
GI<J<KJ8E;D8B< :?8E><J KFK?<-8I8D<KI@: "HL8C@Q<I !FNEN8I;"OG8E;<IJ&EGLK$ 4@;<98E;
$ *LCK@98E; 0K<I<F "E?8E:<I *LCK@98E; $ 8E; )@D@K<IJ 4@;<98E; $ 8E; *@O 8JJ
C@GG<I8E;#@E8C)@D@K<IJ<:K@FEJ
It also includes its own Meter Options menu.
The HD processing cores are suitable for use in both HD Radio (iBiquity/NRSC-5) and DAB (Eureka 147)
8GGC@:8K@FEJ;<G<E;@E>LGFE K?<J8DGC<I8K<<JK89C@J?<;@E K?<0PJK<D0PJK<D FEX>08DGC</8K<
menu.
Processing Menu
All processing parameters for the individual HD cores are found here. Their functions are similar to those
in the FM processing core.
%FN<M<IC@B<K?<0KL;@F -IF:<JJ@E>:FI<K?<%! GIF:<JJ@E>:FI<J ;FEFK LJ<8 XE8C :C@GG<I =FI G<8B
:FEKIFC&EJK<8;K?<PLJ<8CFFB8?<8;C@D@K<IN?@:?@J8;ALJK89C<9PK?<Final Limiter Drive control and
operates in a range between -6.00 and +6.00dB in one-quarter dB increments. Reducing limiter drive
JC@;@E>K?<:FEKIFCKFK?<C<=KI<;L:<JK?<8DFLEKF=C@D@K@E>8E;>@M<JPFL8DFI<FG<EJFLE;9LK8KK?<
<OG<EJ<F=FM<I8CCCFL;E<JJ FEM<IJ<CP@E:I<8J@E>C@D@K<I;I@M<DFM@E>K?<JC@;<IKFK?<I@>?KN@CCI<JLCK
@EDFI<C@D@K@E>8E;8CFL;<IFLKGLK9LK8KK?<<OG<EJ<F=GLE:?
94
Meter Options Menu
'LJK8JK?<#*J<:K@FE ?8J8*<K<I,GK@FEJD<ELJF;F<J K?<%! J<:K@FE@E:CL;@E>)FL;E<JJ*<K<IJ
)FL;E<JJ *8K:?<;8E;1<JK&EGLKJL9D<ELJN?@:? D8B<@KGFJJ@9C< KF:FE;L:K :FDG8I@JFEJ
with another HD processor while matching gain and delay.
Loudness Meters Menu
The Loudness Meters Menu determines which meters are visible when the Loudness Meters are
displayed. Choices include Program InputProgram Output, and Test Input meters.
95
Test Input Menu
1?<JFLI:<8L;@F=FIK?<1<JK&EGLK@JJ<C<:K<;?<I<8CFE>N@K?8;ALJKD<EKJ=FI>8@E8E;;<C8PK@D<8E;
an option for meter activity.
R The Delay JC@;<IGIFM@;<J9<KN<<E 8E;DJF=;<C8PKFK@D<8C@>E8L;@F:FD@E>@E=IFDK?<
Test Input.
R The Physical Input;IFG ;FNE D<EL ;<K<ID@E<JK?<JFLI:<F= K?<8L;@F=<<;@E> K?<1<JK &EGLK
@E:CL;@E>E8CF>*8@E!@>@K8C"0/<=<I<E:<8E;LO!@>@K8C
R The Gain:FEKIFCGIFM@;<J8;ALJKD<EK=FI8L;@F=<<;@E>K?<1<JK&EGLK
R Enabling the Always Active option keeps the meter running (continuous integration) even when
the Program Input and Program Output sources are not actively being monitored at their
corresponding patch points.
96
Loudness Matched A/B Menu
Loudness matching for HD works in the same manner as the corresponding section of the FM processing
core previously described in detail though the Source and Match options are different.
R Source audio and Match audio can both come from either the Program Input to the HD core or
from the Test Input as selected in the Test Input Menu.
The Display Settings menu here is similar to the one found in the FM processing section but with patch
points for the HD processing cores.
97
Chapter 16 Streaming Processing & Encoding Menu
Chapter 16
Streaming Processing &
Encoding Menu
No transmitter? No tower?
No problem.
98
The Streaming Processing & Encoding Menu
1?<8L;@F=FI0KI<8D@JJ?8I<;N@K?K?<#*8E;%! J<:K@FEJF=,DE@8N?@C<0KI<8DJ 8E;8I<
J?8I<; N@K? K?<@I :FII<JGFE;@E> %! 8E; %! %FN<MD<EL =FI<8:?F=K?<0KI<8D@E>0KI<8D@E>8E;0KI<8D@E>J<:K@FEJ :FEK8@EJJL9
menus for processing (provided the conditions that allow for independent streaming processing as
FLKC@E<;89FM<8I<D<8E;=FI:FEX>LI@E>K?<M8I@FLJ<E:F;<I8E;J<IM<IFGK@FEJ
;<K8@C<;<OGC8E8K@FE F= J<KK@E> LG8E; :FEX>LI@E> JKI<8D@E> <E:F;<IJ 8E;J<IM<IJ NFLC;I<HL@I< 8E
<EK@I<D8EL8CF=@KJFNE8E;@J9<PFE;K?<J:FG<F=K?<><E<I8C,DE@8D8EL8C4<?8M<8JJLD<;K?8K
users who stream possess at least a basic knowledge of how streaming audio works and an
understanding of the differences between the various formats. We encourage you to work closely with
PFLI&18;D@E@JKI8KFIJKFF9K8@EK?<@E=FID8K@FEJG<:@X:KFPFLIFG<I8K@FE
Processing Menu
1?<D<ELJ8E;:FEKIFCJ @E <8:? F= ,DE@8WJ0KI<8D@E>:FI<J FG<I8K<ALJK 8J K?<@I :FLEK<IG8IKJ@E K?<
%!-IF:<JJ@E>:FI<J;FN?@:?@EKLIE8I<M<IPJ@D@C8IKFK?<@I:FLEK<IG8IKJ@E K?<#*GIF:<JJ@E>J<:K@FE
;<K8@C<; <OGC8E8K@FE F= <8:? D<EL 8E; :FEKIFC :8E 9< =FLE;8E;I<=<I<E:<; @E K?<#*-IF:<JJ@E>
menu section of this manual. Controls unique to the HD and Streaming sections are described in detail in
the HD Processing menu section.
99
Streams Menu
1?@JD<EL:FEK8@EJK?<:FEKIFCJE<:<JJ8IP KFJ<KLG 8E;:FEX>LI<<8:? F=K?<<E89C<;<E:F;<IJ8E;@J
N?<I<;<K8@CJF=K?<J<IM<IJ:8E9<<EK<I<;1?<KPG<8E;D8O@DLDELD9<IF=<E:F;<IJ:8E9<J<KLG @E
K?<K?<0PJK<D0PJK<D FEX>0KI<8D@E>"E:F;<IJD<EL
Metadata Menu
Omnia 9‘s built-in http server can be used to feed information such as the song title and artist information
to the stream.
100
AAC Encoder Menu
1?< "E:F;8@E <EKJJL:?
as shoutcast.com.
R The Enable:FEKIFC <E89C<JFI;@J89C<JK?<JKI<8D4?<E <E89C<;K?<<E:F;>C<J 9<KN<<E ,== ,E 8E; ,M<IJ8DGC<; 4<
I<:FDD<E;J<KK@E>K?@J:FEKIFC KF,== =FI 9@K I8K<J F=B9GJ FI?@>?<I,E =FI 9@K
I8K<JF=B9GJFICFN<I8E;,M<IJ8DGC<;=FI9@KI8K<J9<KN<<E8E;B9GJ
R The Channel Mode D<EL GIFM@;<J 8 :?F@:< 9<KN<<E *FEF 0K<I<F 0K<I<F &E;<G<E;<EK
-8I8D<KI@: 0K<I<F 8E;!L8C ?8EE<C4<I<:FDD<E;J<KK@E> K?@J :FEKIFC KF0K<I<F=FI 9@KI8K<J
over 40kbps and to Parametric Stereo for bit rates of 40kbps and lower. Mono should be used only
if the program material is mono. Because the Stereo Independent and Dual Channel settings force
the encoder to divide bits equally between the left and right channels instead of allowing it to
101
8CCF:8K<K?<9@KJ 8J E<<;<;N<I<:FDD<E;EFK LJ@E>K?<J< J<KK@E>JLEC<JJ PFL ?8M< 8 JG<:@X:
reason to do so.
R The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps. Your
:?F@:<F=9@KI8K<J<KK@E>JN@CCJ@>E@X:8EKCP@EYL<E:<K?<8L;@FHL8C@KP F=PFLIJKI<8D%FN<M<IPFL
N@CC 8CJF E<<; KF K8B< FK?<I =8:KFIJ @EKF :FEJ@;<I8K@FE JL:? 8J K?< KFK8C 8DFLEK F= 98E;N@;K?
8M8@C89C<=FI K?<JKI<8D K?< 8EK@:@G8K<;ELD9<I F=LJ<IJ PFLI D8O@DLD LGCF8;JG<<; 8E; K?<
download speed limits of your intended users.
R The Audio Bandwidth menu allows you to set the high frequency range of the stream between 8
8E; B%Q 2EC<JJ PFL ?8M< 8 JG<:@X: I<8JFE KF J<K K?< 98E;N@;K? D8EL8CCP N< JKIFE>CP
recommend leaving this control set to Encoder Default.
R The Sample RateD<EL N@CC <@K?FE K?<J8DGC<I8K<J<KK@E> @E K?<<E:F;<IFI I<JLCK@E 8 ?@>?HL8C@KP I<J8DGC<KF
FIB%Q
R The setting of the Gain :FEKIFC @J :I@K@:8C +FID8CCP K?@J:FEKIFC :8E 9<C<=K8K%FN<M<IK?<I<
8I<K@D<J N?<E PFL N@CC N8EKKF I<;L:<K?<@EGLKC<M<C @EKFK?<<E:F;<I#FI <O8DGC< @=PFL 8I<
<DGCFP@E>8 CFKF=G<8B C@D@K@E>@E K?<0KI<8D@E>:FI<8E;LJ@E> <E:F;@E>8K8 CFN 9@KI8K<
there will be peak overshoots created as a side effect of the bit rate reduction. Unless the input
C<M<C @EKFK?<<E:F;I8;<K?<HL8C@KPF=K?<8L;@F6FLD8P8CJF:FEJ@;<I98:B@E>F==
the Final Limiter Drive from within the Streaming processing core.
AAC Server Menu
The AAC Server menu allows you to input and set up your server settings.
R The TitleX<C;J?FLC;:FEK8@EK?<E8D<F=PFLI8L;@FJKI<8D
R The Server X<C;J?FLC;:FEK8@E K?<2/)F=K?< J<IM<I@E:CL;@E>K?< GFIK@E K?<=FCCFN@E> =FID8K
TJKI<8D@E>J<IM<I<O8DGC<:FDU
R The Mount PointX<C;=FI &:<:8JKJ<IM<IJ J?FLC;:FEK8@E K?<DFLEKGF@EKFEK?<J<IM<I@E K?<
=FCCFN@E>=FID8KT<O8DGC<DGU=FCCFN@E>K?<J<IM<IE8D<
102
R Enabling the Allow Public Listing :FEKIFC J<KJ K?< TGL9C@: C@JK@E> 8CCFN<;UY8> @E K?< JKI<8D 8J
determined by the server.
R The Server Type control allows you to choose between Shoutcast and Icecast2.
R The Mime Type :FEKIFC JG<:@X<J K?< %11- *@D< 1PG< F= K?< JKI<8D 8E; ;<K<ID@E<J N?<K?J8E;GC8P<I1?<2/)@JKPG@:8CCPK?<JK8K@FEWJF=X:@8C?FD<G8><
R The User NameX<C;:FEK8@EJK?<LJ<ICF>@EE8D<=FIK?<J<IM<I
R The PasswordX<C;:FEK8@EJK?<G8JJNFI;=FIK?<J<IM<I
R The Genre X<C; @J 8CJF 8 D<K8;8K8 X<C; 1?< KPG< FI JKPC< F= :FEK<EK =FLE; FE K?< JKI<8D @J
typically entered here.
R The Apply Immediately control determines whether any changes you make to the server settings
take effect immediately or when you manually reconnect.
MP3 Encoder Menu
1?<*- "E:F;8@E <EKHL8C@KP
as shoutcast.com.
R The Channel Mode D<EL GIFM@;<J 8 :?F@:< 9<KN<<E *FEF 0K<I<F 8E; 0K<I<F &E;<G<E;<EK
Because the Stereo Independent settings forces the encoder to divide bits equally between the left
8E;I@>?K:?8EE<CJ@EJK<8;F=8CCFN@E>@KKF8CCF:8K<K?<9@KJ 8J E<<;<;N< I<:FDD<E;EFKLJ@E>
K?@JJ<KK@E>JLEC<JJPFL?8M<8JG<:@X:I<8JFEKF;FJF
103
;<G<E;@E> FE K?<J8DGC<I8K<J<KK@E> @E K?<<E:F;<IFI I<JLCK @E 8 ?@>?HL8C@KPI<J8DGC<KF
B%Q
R The Bit Rate menu allows you to choose encoding bit rates between 16kbps and 320 kbps. Your
R The Audio Bandwidth menu allows you to set the high frequency range of the stream between 3
8E; B%7 2EC<JJ PFL ?8M< 8 JG<:@X: I<8JFE KF J<K K?< 98E;N@;K? D8EL8CCP N< JKIFE>CP
recommend leaving this control set to Encoder Default.
R The Encoding Quality D<ELGIFM@;<J8 :?F@:<9<KN<<E<JK+FID8C8E;)FN -2N?@:?8CCFNJ
you to balance the tradeoff between higher audio quality and lower CPU usage.
R The Gain:FEKIFC;<K<ID@E<JK?<XE8CFLKGLKC<M<C @EKFK?<<E:F;<I&=PFL8I<<E:F;@E>KF8CFN9@K
FIJ8DGC<I8K<PFL N@CC 8CDFJK:<IK8@ECP E<<;KFKLIE K?@J;FNE KFGI<M<EK?8IJ?:I8:BC@E>JFLE;J
resulting from clipping in the receiving decoder.
MP3 Server Menu
The MP3 Server menu allows you to input and set up your server settings.
R The TitleX<C;8CCFNJPFLKF<EK<IK?<E8D<F=K?<<E:F;8@E <EK<I K?<
JKI<8DWJK@KC<8E;J<C<:KK?<:?8EE<CDF;<J8DGC<I8K<8E;9@KI8K<
as shoutcast.com.
R The Channel Mode D<EL GIFM@;<J 8 :?F@:< 9<KN<<E *FEF 0K<I<F 'F@EK 0K<I<F 8E; !L8C
Channel.
R The Bit Rate menu allows you to choose encoding bit rates between 64kbps and 384kbps. Your
;<G<E;@E> FE K?<J8DGC<I8K<J<KK@E> @E K?<<E:F;<IFI I<JLCK @E 8 ?@>?HL8C@KPI<J8DGC<KF
B%Q
105
R The Gain:FEKIFC;<K<ID@E<JK?<XE8CFLKGLKC<M<C@EKFK?<<E:F;<I
MP2 Server Menu
The MP2 Server menu allows you to input and set up your server settings.
as shoutcast.com.
R The Mount Point X<C;=FI &:<:8JKJ<IM<IJ J?FLC;:FEK8@E K?<DFLEKGF@EKFEK?<J<IM<I@E K?<
Vorbis Encoder Menu
1?<3FI9@J <E:F;8@E <EK>*<K8;8K88E;J<C<:KK?<:?8EE<CDF;<J8DGC<I8K<8E;HL8C@KPDF;<
106
as shoutcast.com.
R The Enable :FEKIFC <E89C<JFI;@J89C<JK?<JKI<8D4?<E <E89C<;K?<<E:F; FE K?< J8DGC<I8K< J<KK@E>@E K?< <E:F;?HL8C@KP I<J8DGC< KF
FIB%Q
R The Quality ModeD<EL8CCFNJPFL KF:?FFJ<=IFD8 I8E><F=J<KK@E>J9<KN<<E3/8E;3/
1?<3FI9@J:F;<: @J9PE8KLI<8 M8I@89C<9@KI8K<<E:F;<I9LK=FII<=<I<E:<N<?8M<@E:CL;<;8E
8GGIFO@D8K<8M<I8><9@KI8K<=FIHL8C@KPDF;<JCFN<IK?8E3/
R The Gain:FEKIFC;<K<ID@E<JK?<XE8CFLKGLKC<M<C@EKFK?<<E:F;J
107
R The TitleX<C;8CCFNJPFLKF<EK<IK?<E8D<F=PFLI8L;@FJKI<8D
take effect immediately.
WMA Encoder Menu
1?<4*4@E;FNJ *<;@8L;@F <E:F;8@E<EK<IK?<JKI<8DWJK@KC<8E;J<C<:KK?<<E:F;<IKPG<8E;=FID8K
108
R The TitleX<C;8CCFNJPFLKF<EK<IK?<E8D<F=K?<<E:F;<I
R The Encoder menu lets you choose between Windows Media Audio 9 and Windows Media Audio 9
Professional
R The Format menu allows you to choose a combination of bit rates and sample rates to determine
the quality of the audio stream.
R The Gain:FEKIFC;<K<ID@E<JK?<XE8CFLKGLKC<M<CF=K?<<E:F;<I
WMA Server Menu
The WMA Server menu allows you to input and set up your server settings.
R The TitleX<C;8CCFNJPFLKF<EK<IK?<E8D<F=PFLI8L;@FJKI<8D
109
R The Pull PortX<C;8CCFNJPFLKF<EK<IK?<J<IM<IWJGFIKELD9CP
recommend against letting listeners through directly without a server in between.
R The Push :FEKIFC <E89C<J FI ;@J89C<J GLJ? :8G89@C@K@<J FLKN8I; KFN8I; K?< J<IMK?<-LJ?2/)1<DGC8K<2J<I+8D<8E;
Password are accessible. Note that the mount point must be part of the server push URL - for
<O8DGC<http://omniaaudio.com/mountpoint
Meter Options Menu
'LJK8JK?<#*8E;%! J<:K@FEJ?8M<8 *<KJ<:K@FE@E:CL;@E>
)FL;E<JJ *<K<IJ )FL;E<JJ*8K:?<;8E;1<JK&EGLKJL9D<ELJN?@:? D8B<@KGFJJ@9C<KF:FE;L:K
:FDG8I@JFEJN@K? 8EFK?<IGIF:<JJFIN?@C<D8K:?@E>>8@E 8E;;<C8P FEKIFCJ8I<<OGC8@E<;@E ;<K8@C
in HD section.
110
Chapter 17 Monitor Output Menu
Chapter 17
Monitor Output Menu
Q: If blissfully clean audio reaches the transmitter but you
can’t hear it in the studio, does it make a sound?
A: Yes, but you’re really missing out.
111
The Monitor Output Menu
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8E;)@D@K<IK?I<J?FC;J8E;8::<JJK?<CFL;E<JJ8E;G8I8D<KI@:<HL8C@Q<IJ<:K@FEJ
112
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J@D@C8IFI@;<EK@:8C KFK?<@I :FLEK<IG8IKJ@E,DE@8WJM8I@FLJGIF:<JJ@E>:FI<JJL:? 8JK?<K<IDTGI<J<KU
K?? K?< 0G<8B<I %<8;G?FE<FILOFLKGLKJ
Patch Points Menu
The Patch Point menu lets you choose which of Omnia.9’s processing cores you wish to monitor in the
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hear. The patch point currently being monitored appears in the corresponding volume control at the top of
the screen.
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and the Headphone Output might be used to feed talent headphones. Each situation and application will
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,E< @DGFIK8EK =<8KLI< KFLE;<IJK8E; N<CC @J K?< #FCCFN :FEKIFCN?@:? @J J<K KFT,==U 9P ;<=8LCK 4?<E
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audio) of that Monitor Output will conveniently “follow” along with you as you navigate to different
processing cores in that user interface. Keep in mind that anyone else listening to that same Monitor
Output will also be affected. The On/Off status of Follow is independently associated with each remote
connection (or the front panel).
FM Processing Patch Points
You can feed each of the three Monitor Outputs audio from various points within the FM processing core.
R The I/O D<EL C<KJ PFL C@JK<E KF -IF>I8D &EGLK )FL;E<JJ *8K:?<; *-5 ,LKGLK 8E; )/
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only those processing cores that have been enabled will be available.
R The De-clipper menu lets you hear audio either before or after the de-clipper.
R The Undo Pre menu lets you listen to the audio of each individual Undo band before it enters the
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processing preset.
R The Undo PostD<EL C<KJPFL C@JK<EKFFLKGLKF=K?<<EK@I<2E;FJ<:K@FEFI KFK?<FLKGLKF=<8:?
individual Undo band before it enters the main audio processing core.
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R The Miscellaneous D<EL C<KJ PFL C@JK<E KF K?< 8L;@F 8=K 8=K8=K<IK?<8JJ C@GG<I8=K<IK?<)FL;E<JJ*8K:?<;@EGLK8J8E*-5J@>E8CN@K?EF@J<
or at the Program Pass-through patch point.
R The MPX DecodedD<EL 8CCFNJPFL KFC@JK<E KF;<:F;<;GI<<DG?8J@Q<;;<<DG?8J@Q<;8L;@F
=IFDK?<*-5,LKGLK*-5&EGLKFI*-5&EGLK
R The Multiband DRC SoloD<ELC<KJPFL C@JK<EKFK?<8L;@F8=K<IK?<-8I8D<KI@:".@E <8:?F=K?<
$ 4@;<98E;8E;4@;<98E; J@;<:?8@EJ8E;8KK?<FLKGLK F=<8:? @E;@M@;L8C 98E; F= K?<
Multiband processing section.
Studio Processing Patch Points
You can feed each of the three Monitor Outputs audio from various points within the Studio Processing
core.
R The I/O menu allows you to listen to the Program Input or Studio Output.
R The Physical Inputs D<EL8CCFNJPFLKFDFE@KFI8EPF=K?<I<8I G8E<C@EGLKGF@EKJ@E:CL;@E>*8@E
!@>@K8C"0/<=<I<E:<LO!@>@K8C8E;E8CF>
HD-1, HD-2, and HD-3 Patch Points
You can feed each of the three Monitor Outputs audio from various points within any of the HD processing
cores.
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R The I/O D<EL 8CCFNJ PFL KFC@JK<E KF<@K?I8D &EGLKK?<)FL;E<JJ*8K:?<; G8K:?
GF@EKK?<!@>@K8C,LKGLK8E;K?<1<JK&EGLKF=<8:?%!GIF:<JJ@E>:FI<
R The De-clipper menu lets you monitor the audio either before or after the De-clipper.
entire Undo chain.
R The Undo PostD<EL C<KJ PFLC@JK<E KFK?<8L;@FF=K?<2E;FJ<:K@FEFIKF<8:? @E;@M@;L8C 2E;F
band after it has been processed by Undo but before it enters the main audio processing core.
R The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched
Input.
!@>@K8C"0/<=<I<E:<LO!@>@K8C8E;E8CF>
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$ 4@;<98E;$ 8E;4@;<98E;$ J@;<:?8@EJ8J N<CC 8J K?<8:KL8C FLKGLK8L;@F
from each of those stages.
R The Multiband Solo menu allows you to individually monitor the audio in each band of the
multiband AGC.
Streaming 1, Streaming 2, and Streaming 3 Patch Points
You can feed each of the three Monitor Outputs audio from various points within each of the Streaming
processing cores.
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GF@EKK?<!@>@K8C,LKGLK8E;K?<1<JK&EGLKF=<8:?0KI<8D@E>GIF:<JJ@E>:FI<
R The De-clipper menu lets you monitor the audio either before or after the De-clipper.
entire Undo chain.
R The Undo PostD<EL C<KJ PFLC@JK<E KFK?<8L;@FF=K?<2E;FJ<:K@FEFIKF<8:? @E;@M@;L8C 2E;F
band after it has been processed by Undo but before it enters the main audio processing core.
R The Misc menu lets you listen to the signal being fed by a test input or after the Loudness Matched
Input.
!@>@K8C"0/<=<I<E:<LO!@>@K8C8E;E8CF>
R The SidechainsD<EL 8CCFNJPFL KFDFE@KFI K?<8L;@FG8JJ@E>K?IFL>? K?<&EGLK$ 4@;<98E;
$ 4@;<98E;$ 8E;4@;<98E;$ J@;<:?8@EJ8J N<CC 8J K?<8:KL8C FLKGLK8L;@F
from each of those stages.
R The Multiband Solo menu allows you to individually monitor the audio in each band of the
multiband AGC.
Load Preset Menu
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settings in the form of presets.
It is important to remember that this menu refers to presets you create and save yourself for speaker
calibrations within each of the three Monitor Outputs. These are not the same as your processing presets!
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The Load Preset menu allows you view the preset you are currently feeding to the particular Monitor
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J<KK@E>JF=KNFGI<J<KJ8E;;<C<K<LJ<IGI<J<KJ
116
R Highlighting a preset from the list places it in the Load button. Selecting the Load button puts that
immediately loads the preset and moves it up to the Current Preset position. The preset that was
previously audible will become the Backup Preset. You may also load a preset directly from the list
by double tapping it.
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R
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FE K?<JG<:@X: :FEKIFC 9LKKFE @E <8:? J<:K@FE F= K?< GIF:<JJ@E> :FI< GIFM@;@E> 8E @EJK8EK M@JL8C
:FDG8I@JFE9<KN<<EK?<DF;@X<;GI<J<K8E;K?<FI@>@E8CGI<J<KLGFEN?@:?@K@J98J<;
R 6FL :8E 8CJF :FDG8I< K?< ;@==<I<E:<J 9<KN<<E K?< LII<EK -I<J<K 8E; K?< 8:BLG -I<J<K
GIFM@;@E>E<@K?K?< Diff Preset button. Any control settings in
the Current Preset that are different from those in the Backup Preset will be displayed in yellow in
their respective sections.
R Selecting the Delete Preset button allows you to permanently delete a preset from the list.
Save Preset Menu
The Save Preset menu allows you to edit the name of or save over a preset.
117
R 6FL :8E I<E8D< PFLI :LII<EK GI<J<K I<>8I;C<JJ F= N?<K?LG K?<FEJ:I<<EB<P9F8I;1PG<@EK?<E<NE8D<
J<C<:KT,(U8E;J<C<:KSave Preset. The new preset will now appear in the list.
R &=PFLI LII<EK-I<J<K?8J9<<EDF;@X<;PFL8CJF?8M<K?<FGK@FE KFNI@K<FM<IK?<<O@JK@E>GI<J<K
without renaming it by selecting Save Preset.
Main 1 Menu
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@E;@M@;L8CCP JFCF 8E @E;@M@;L8C :?8EE<C 8E; J<K 8 ?@>? G8JJ XCK?K
channels.
R The Volume slider is a duplicate of the control found on the top of the Home screen and controls
the output level to the speaker or headphone output.
R The Bypass :FEKIFC <E89C<J FI ;@J89C<J K?< G8I8D<KI@: ". CFL;E<JJ :FEKFLIJ 8E; ?@>? G8JJ
XCK<IJ
118
R The Lock :FEKIFC 8CCFNJPFL KF TCF:B ;FNEU8CCF= K?<J<KK@E>J@E:CL;@E>K?<G8K:? GF@EKJ8E;K?<
J?FIK:LK J<KK@E>J JL:? 8J MFCLD< :FEKIFCJ 8K K?< KFG F= K?< LJI8P<;FLK1?@J@J<JG<:@8CCPLJ<=LCN?<EK?<T#FCCFNU:FEKIFC @J<E89C<;8J@K
prevents the selected patch point from being accidentally changed by someone connected via a
remote client.
J Imagine the surprise - not to mention confusion - this would cause the talent if, say, the Speaker
Output, which normally feeds the studio monitors with the low latency Studio output, got
BF8C2743>E4AC>C74B86=0;=3F78;4F4OA4>=C74BD1942C;4CDB6>>=A42>A30BBC0C8=6
we do not endorse the idea of deliberately confusing the talent in this manner. We’re just saying
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output put in active use.
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JG<8B?<98IJ@E K?<:FII<JGFE;@E>MFCLD<:FEKIFCJN@CC8GG<8I @E;@:8K@E>K?8K
the master gain should be reduced. The Master Gain :FEKIFC 8;ALJKJ K?< FLKGLK C<M<C F= <8:?
*FE@KFI ,LKGLK J<:K@FE I<C8K@M< KFK?< -IFK<:K@FE )@D@K<I6FL D8P 8CJF XE;K?8K @E K?<:FLIJ<F=
:8C@9I8K@FE PFL?8M<D8;<J@>E@X:8EK:LKJKF8:?@<M<8 Y8KFLKGLK8E;E<<;KFLJ<K?@J:FEKIFCKF
raise the output level so that the calibrated and un-calibrated outputs match volume-wise when you
compare them by using the Bypass control.
R The Left Level and Right Level :FEKIFCJ 8CCFN PFL KF 8;ALJK K?< FLKGLK >8@E F= <8:? :?8EE<C
individually and act as a sort of “balance” control in situations where the left and right speakers are
not equally spaced from the monitor point.
R The Solo Left and Solo Right controls allow you to monitor only the left or only the right channel.
R The Left High Pass Filter and Right High Pass Filter :FEKIFCJ8CCFNPFLKFJ<KK?<?@>? G8JJXCKJD8CCJG<8B<IJ4?<E:8C@9I8K@E>JD8CC<I98JJJ?PJG<8B<IJK?<I<
N@CC:FD<8 GF@EKN?<I<PFL :8E EFCFE>8E;@K@J
more practical to simply not try and pass those frequencies at all. That point will be clear on the
/18E;@J<OGC8@E<;@EDFI<;<K8@C@EK?<0G<8B<I 8C@9I8K@FEJ<:K@FE
R The Pink Noise Left and Pink Noise Right controls turn the pink noise generator in each channel
on or off.
Main 2 Menu
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119
R The Volume and Master Gain:FEKIFCJ 8I<;LGC@:8K<J F=K?FJ<=FLE;@E K?<*8@E D<EL 9LK8I<
found here as well for convenience.
R 4?<E <E89C<; K?<Common L/R EQ control “couples” the left and right channels together in the
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<C@D@E8K@E>K?<E<<;KFD8B<K?<J8D<8;ALJKD<EKJKN@:<!@J89C@E>K?@J:FEKIFC8CCFNJ PFLKF".
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point.
R The Delay All control allows you to delay the audio output of the Speaker and Headphone outputs.
R The Delay Left and Delay Right controls provide a means by which to delay one channel
independently of the other.
R The Invert Left and Invert Right controls let you swap the polarity of each channel. The ability to
do so in one channel or the other can be useful if you discover that one of the speakers has been
wired out of phase and it is not practical or convenient to physically switch the positive and negative
wires. Being able to do so to both channels simultaneously can come in handy if you are in a
situation where both channels have gotten out of phase at some point in the studio wiring.
R The Bass Limiter Threshold controls for the Left and Right channels set the threshold of the bass
limiters. Keep in mind that these controls affect only the monitor output audio and have no effect on
any of the on-air processing cores, but they are very useful when pushing higher volumes and more
bass through very small speakers.
R The Limiter Threshold controls for the Left and Right channels set the threshold of the Protection
Limiters in each Monitor Output section and operate in the same manner as their counterpart in the
%! 8E; FK? :FI<J J N@K? K?< 8JJ C@G 1?I<J?FC; :FEKIFCJ only the
monitor output audio is affected.
Loudness 1 and Loudness 2 Menus
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monitor output depending upon the volume level.
120
0G<8BI<8K<I;<K8@C C8K<I @E K?@JD8EL8C@JEFID8CCP ;FE<8KI<C8K@M<CP
high volume levels in order to provide adequate gain into the mic to overcome room noise. Normal
listening levels may be substantially lower. While the EQ curve of the output of the speakers technically
I<D8@EJK?<J8D<K?<N8PFLI <8IJ G<I:<@M<;@==<I<EK=I<HL<E:@<J8K CFN?<
frequencies.
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frequency and a width of 3.0 octaves or so) in order for the bass to sound balanced at lower volumes. The
J8D< @J KIL< =FI ?@>??
frequency with a width of 2.0 octaves or so).
R The FrequencyWidth8E;Gain sliders operate in the same manner as their counterparts in other
J<:K@FEJF=K?<,DE@8@EN?@:?8G8I8D<KI@:<HL8C@Q<I@JF==<I<;
R The Band MinJC@;<IJ<KJK?<GF@EK8KN?@:?8EP<HL8C@Q8K@FE<JK89C@J?<;9PK?<#I<HL<E:P4@;K?
and Gain sliders are begins to take place.
R The Band Max JC@;<IJ<KJK?<GF@EK8KN?@:?K?<D8O@DLD8DFLEKF=<HL8C@Q8K@FE@JI<8:?<;
&=K?<$8@E JC@;<I@JJ<K KF; 8E;K?<8E;*@E 8E;8E;*8OJC@;<IJ 8I<J<KKFK?<J8D<M8CL<K?<
<HL8C@Q<IJ@E K?<)FL;E<JJ8E;)FL;E<JJD<ELJ:8E 9<LJ<;8J8;;@K@FE8C TJK8K@:U ". 98E;J@==FI
N?8K<M<II<8JFEDFI<98E;J9<PFE;K?FJ<F==<I<;@EK?<*8@E8E;*8@EJ<KK@E>8I<E<<;<;
Left EQ1, Left EQ2, Right EQ1, and Right EQ2 Menus
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<HL8C@Q8K@FE=FI<8:?*FE@KFI,LKGLK
121
R The FrequencyWidth8E;Gain sliders operate in the same manner as their counterparts in other
J<:K@FEJF=K?<,DE@8@EN?@:?8G8I8D<KI@:<HL8C@Q<I@JF==<I<;
R The Copy control places the settings from either the Left EQ 1 or Right EQ 1 section onto a
“clipboard” so that they can be shared in the opposite channel EQ by using the Paste control. This
is especially handy if your left and right speakers require nearly - but not quite - identical
<HL8C@Q8K@FE
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manual.
122
Chapter 18 System Menu
Chapter 18
System Menu
Whatever control you are looking for
that is not directly related to processing
is probably in here.
123
The System Menu
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8E; I<DFK< :FEE<:K@FEJ &K @J 8CJF N?<I<?@>? C<M<C T>CF98CUJ<KK@E>J JL:? 8J K?<K@D<8E; ;8K<@EGLK
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<EK<I<;8E;N?<I<J<KK@E>J=FIK?<XC<I<:FI;<I8I<D8;<
System Status Menu
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Audio I/O Status.
The System Information GFIK@FE J?FNJ @E=FID8K@FE 89FLK ,DE@8WJ FG<I8K@FE @E:CL;@E> -2 CF8;
8M8@C89C</*GFN<IJLGGCP?<8CK?LGK@D<8E;M8I@FLJJF=KN8I<XIDN8I<8E;?8I;N8I<M<IJ@FEJ
124
The Network Information J<:K@FE GIFM@;<J@E=FID8K@FE @E:CL;@E>K?<?FJK E8D<&- 8;;I<JJ8E;* 8;;I<JJF=K?<LE@K &K8CJF@E;@:8K<J?FND8EP LJ<IJ 8I<I<DFK<CP:FEE<:K<;K?<I<DFK<GFIK ELD9LI8K@FEJ
125
I/O Options Menu
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@EGLKJ ;<G<E;@E> LGFE :FEX>LI8K@FE 0FLI:< ;ALJKD<EK !@M<IJ@KP !<C8P 0@C<E:< !<K<:K@FE *8@E
,LKGLKJ8E;#*,GK@FEJ
Load Preset and Save Preset Menus
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,GK@FEJ:8E9<J8M<;KF8E&,GI<J<KXC<1?@JD8B<J@KM<IP<8JPKFI<KLIEKF8BEFNE>FF;
:FEX>LI8K@FE@=PFLD8B<8:?8E><KFFE<F=K?<J<J<KK@E>J8E;E<<;8HL@:BN8PKFT><K98:B?FD<UFI@=
you want to clone settings to transfer to another Omnia.9.
Input 1/2/3 Menus
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"0/<=<I<E:<LO!@>@K8C=<<;J<8:?F=,DE@8WJ8L;@F@EGLKG8K?J
126
R The Primary Source drop-down menu determines the audio source of each input.
R &E K?< <M<EKPFL CFJ<8L;@F=IFD K?<GI@D8IP JFLI:<PFL D8PLJ<K?<Secondary Input Source
drop-down menu to select audio from an alternate source.
R The Input Preference :FEKIFC ;<K<ID@E<J N?<K?<I FI EFK ,DE@8 B<<GJ K?<:LII<EK J<:FE;8IP
audio source on the air after audio returns to the primary input source or switches back to the
primary source.
R The Studio Source drop-down menu allows the low-latency studio processing core to be fed
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pre-delay feed for talent monitoring.
R 4?<E <E89C<;K?<Clip Warning :FEKIFCN@CC :8LJ< K?<&EGLKD<K<IJ KFY8J? I<;N?<E K?<8L;@F
?@KJ =LCC J:8C< &E 8 EFID8C JKL;@F <EM@IFED<EK C@G 48IE@E> J?FLC; 9< KLIE<; FE KF B<<G K?<
FG<I8KFI=IFDFM<ICF8;@E>,DE@8WJ@EGLK%FN<M<I@=PFL8I<@E 8K<JK<EM@IFED<EK8E;=<<;@E>8
! GC8P@K8C @EGLKJPFL D8P N@J? KF KLIE K?@J :FEKIFC F== 8J :C@GG@E>
present on the CD itself may trigger the Clip Warning.
R The High Pass Filter ;IFG;FNE D<EL 8CCFNJ PFL KF :FDGC<K<CP ;@J89C< K?< XCK<I FI J<K @KJ
=I<HL<E:PKF PFLI :?F@:< F= FI %Q 1?< 8E;%Q
XCK<IJ 8I< <OKI<D<CP J?8IG :FDGC<K<CP <C@D@E8K< ?LD 8E; ILD9C< 8E;8I<LJ<=LC =FI 8E 8CCK8CB
=FID8KFI8 JK8K@FE K?8KJK@CC GC8PJ C@M<M@EPC1?<;<=8LCK J<KK@E>@J %Q&K@JNFIK? EFK@E>K?8KK?<
HPF is phase linear.
R The Low Pass Filter ;IFG;FNE D<EL 8CCFNJ PFL KF :FDGC<K<CP ;@J89C< K?< XCK8@E@EM<IKK?<GFC8I@KPF=K?<@EGLK
8L;@F8E;J<KK?<@EGLKDF;<@E;<G<E;<EKCP=FIK?<E8CF>*8@E!@>@K8C"0/<=<I<E:<8E;LO!@>@K8C
physical inputs.
127
R The Input Gain:FEKIFC8CCFNJPFLKF8;ALJK8 M8I@89C<>8@E JK8><8=K<IK?<:C@G ;<K<:KFI8E;:8E 9<
used to boost levels to meet Omnia.9’s reference input level as indicated by a green color on the
@EGLKD<K<IJN@K?8E8;ALJKD<EKI8E><F=;
R The Invert :FEKIFC 8CCFNJ PFL KF JN8G K?< GFC8I@KP F= FECP K?< C<=K :?8EE<C @EGLK FECP K?< I@>?K
:?8EE<C@EGLKFI9FK?K?<C<=K8E;I@>?K:?8EE<CJJ@DLCK8E<FLJCP
R The Mode:FEKIFCF==<IJXM<:FD9@E8K@FEJKF;<K<ID@E<?FNK?<@EGLK8L;@F@J=<;@EKF,DE@8 @E
terms of left and right channels.
R L/R sends left channel input audio to the left channel and right channel input audio to the right
channel (default setting).
R R/L sends left channel input audio to the right channel and right channel input audio to the left
channel.
R L+R sends both right- and left-channel input audio to both the left and right channels.
R L sends only left-channel input audio to both the left and right channels.
R R sends only right-channel input audio to both the left and right channels.
Diversity Delay Menu
The amount of delay introduced to the FM analog signal in order to match the corresponding HD-1 audio
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control properly (and monitoring your FM and HD-1 signals regularly) will ensure as smooth a transition
as possible between the analog and digital signals for listeners with HD receivers.
Silence Detection Menu
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audio from the primary source is interrupted.
128
R The Silence Detect control determines how long Omnia.9 will wait before switching over to the
secondary input source. It also determines how long the unit will wait before switching back to the
-I@D8IPJFLI:<@=K?<&EGLK-I<=<I<E:<:FEKIFC@EK?<&EGLK&,,GK@FEJD<EL@JJ<KKF LII<EK
R &= K?< &EGLK -I<=<I<E:< :FEKIFC @E K?< &EGLK &, ,GK@FEJ D<EL @J J<K KF -I@D8IP K?< Program
Detect :FEKIFC 8;ALJKJ ?FN CFE> K?< LE@K N@CC N8@K FE:< @K ?8J ;<K<ID@E<; K?8K 8L;@F ?8J 9<<E
I<JKFI<; KF K?< GI@D8IP @EGLK &= K?< &EGLK -I<=<I<E:< :FEKIFC @J J<K KF LII<EK K?@J :FEKIFC N@CC
determine how long it waits to return to the primary input if audio is lost on the secondary input.
Main Outputs Menu
The Main Outputs Menu determines which audio source is present on each of the rear-panel
:FEE<:K@FEJ@E:CL;@E>*8@E#*,LK*8@E#*,LKLO,LK8E;E8CF>,LK8E;GIFM@;<JFLKGLKC<M<C
8;ALJKD<EKJ=FI<8:?
It also controls the source audio for the AES Main FM Out 1 and Out 2 outputs and enables the use of the
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N?@:?;@>@K8CCPKI8EJ=<IJK?<:FDGFJ@K<J@>E8C=IFDK?<GIF:<JJFI;@I<:KCPKFK?<<O:@K :FI<J ;<G<E;@E> LGFE :FEX>LI8K@FE 8E; 8L;@F =IFD K?< %<8;G?FE< 0G<8B64=4A0C>AF7827?A>E834B?A44<?70B8B1DC
this scenario does have the potential to cause overshoots which could result in a slight loss of
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R The corresponding LevelJC@;<IJ8;ALJKK?<FLKGLKC<M<CJ
R The AES FM Out 1 and Out 2 drop-down controls set the source audio for the Omnia Direct outputs
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FM Options Menu
The FM Options Menu contains controls related to the composite and L/R output sections. Included here
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R The MPX Power Limit slider is used to set the MPX power as appropriate for particular countries
when MPX Power is enabled.
R The Pilot Level :FEKIFC8CCFNJPFLKFJ<KK?<C<M<CF=G@CFK@EA<:K@FEFM<I8I8E><F= KF @E FE<
tenth dB increments.
R Auto Pilot is a feature that automatically turns off the pilot when mono audio is detected which can
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dry voice.
R The MPX Output Bandwidth control gives you the choice of setting the bandwidth of the
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the recommended setting. The L/R Output Bandwidth slider performs the same function for the
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Note: 5 H>D 0A4DB8=60:I*+#H>DF8;; =443C> B4C C74 #
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130
R The Stereo Mode control allows you to choose between single-sideband (SSB) or dual-sideband
(DSB) operation.
R Enabling the RF Bandwidth Control can tightly control the RF bandwidth to reduce multipath
problems. The Strength slider determines the amount of control applied.
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the best setting for your station is by trial-and-error while driving to locations that are known to be
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<EK@I<CPGFJJ@9C<KFD8B<K?<J<8;ALJKD<EKJFEK?<YP8E;@EI<8CK@D<
R Note: +74B86=8P20=24>5C78B540CDA4F0AA0=CB034C08;434G?;0=0C8>=420DB424AC08=B>D=3B
BD270BBC4A4><82O43?80=>C74PABC54F=>C4B>5M$H <<>AC0;N1HE0=4B24=24B4AE4B0B0
6>>34G0<?;420=20DB44G24BB8E4BC4A4>A424?C8>=?A>1;4>:8=6 0C C74 $'. B?42CAD< >5 C78B B>=6 8= ?0AC82D;0A H>D F8;; =>C824 CF> E4AH C0;; 7867
5A4@D4=2H?40:B &=40C I0=30=>C74A0C I+74>A868=0; 0D38>7030?80=>
=>C4 0C I A42>A343 F8C7 BC4A4> <82A>?7>=4B 0=3 70B E4AH ;8CC;4 ?70B4 2>AA4;0C8>=
14CF44= C74 ;45C 0=3 A867C 270==4;B +7DB 3D4 C> C74 $ BC4A4> BHBC4< F7827 0<?;8CD34
<>3D;0C4BC74#45C)867C38554A4=24B86=0;1HIC74B4CF>78675A4@D4=2H?40:BA4BD;C
/>D <0H 0;B>=>C824C70C C74H 0A4 B4E4A0; 3B BCA>=64A C70=C74?8;>C C>=41DC0C CF824 C74
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7867 5A4@D4=2H ?40:B F8;; 20DB4 E4AH F834 B83410=3B 8=H>DA ) 20AA84A ?>C4=C80;;H 20DB8=6
multipath reception problems, which would be especially audible here due to the sparse audio
content.
+7420A45D;>1B4AE4A<0HA42>6=8I4C70C0;C7>D67***8=6;4*83410=3=>A<0;;HA43D24B)
10=3F83C78CF8;;=>C74;?8=C78B20B4 =**F4;>B4C74I?40:1DCF4BC8;;70E4C74
I?40:0=3F8C7**8CB3BCA>=64AC70=145>A4
&=4B>;DC8>=F>D;314C>BC0C820;;HA43D24C74#)B86=0;0BB><4?A>24BB>AB3>>F4E4AC78B
narrows the entire stereo image no matter what the audio content and is the equivalent of
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=BC403 &<=80OB ) 0=3F83C7 >=CA>;;4A F7827 8B 02CD0;;H 0 ;8<8C4A F8C7 C7>DB0=3B >5
10=3B0;;>FB8CC>0CC4=D0C4>=;HC745A4@D4=284BC70C20DB4?A>1;4<BF8C7>DC05542C8=6C74A4BC
>5C74BC4A4>8<064+78B <40=BC867C2>=CA>; >E4A H>DA ) 10=3F83C7F8C7>DC 0D381;4;>BB>5
stereo separation!
R The MPX1 Output and MPX2 Output Level sliders provide very precise control of the composite
output levels of each MPX output section with a range of -30 to 0db in one-hundredth dB
increments.
R The MPX1 Mode and MPX2 Mode controls determine which signals are fed to the composite
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&EGLK1?<J<C8JKFGK@FEJ8CCFNPFL KFG8JJ,DE@8WJ<OK<IE8C*-5 @EGLKJ;@I<:KCPK?IFL>?KFK?<
Omnia.9 on the air. You can compare off-air audio using calibrated speakers and the speaker
output (or client audio output) without affecting on-air audio.
R The L/R Codec Safety drop-down control can be used to limit high-frequency headroom of the L/R
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I8K<I<;L:K@FE@E;L:<;G<8B FM<IJ?FFKJ 0<KK@E>J 8I<,==)@>?K *<;@LD 8E;%<8MP6FL :8E J<<
K?<<O8:K<==<:K@K?8J9PCFFB@E>8KK?<FJ:@CCFJ:FG<J<KKF)/,LKGLKN@K?FM<IJ8DGC@E><E89C<;
131
R The MPX Test Generator and L/R Test Generator are described in detail below.
MPX Test Tone Generator: Control Details and Suggested Applications
The MPX and L/R Test Tone Generator controls allows you choose from several key test tones which can
9<M<IPLJ<=LC=FIK<JK@E>8E;GIFFXE>KI8EJD@JJ@FEG8K?:FDGFE<EKJ
R Square@J8%QJHL8I<N8M<LJ<=LC=FIM@JL8C@Q@E>K@CK
R Quick Sweep@J8 M<IP=8JK S%QJN<<G N@K? 8 :C@:B 9<=FI<<8:?JN<<G;<J@>E<;KF
F==<I8 M@JL8CI<=<I<E:<8JKFK?<?@>?=I<HL<E:PG<I=FID8E:<F=PFLI01)FI<O:@K<I&=PFLN<I<KF
:FEE<:K 8E FJ:@CCFJ:FG< KF 8 :8C@9I8K<; KLE?=I<HL<E:PI<JGFEJ<
EP ;<M@8K@FE =IFD 8 Y8K ?@>? =I<HL<E:P I<JGFEJ< D<8EJ 8 CFJJ F= CFL;E<JJ 8E;FI JK<I<F
separation.
R Sweep (MPX)@J8JCFNC@E<8I=I<HL<E:PJN<<G9<KN<<E8E;%Q
R Log Sweep (MPX) is a logarithmic equivalent.
R 400Hz @J 8 =LCC 8DGC@KL;< J@E< N8M< KF 8CCFN PFL KF J<K 8E <O8:K B%Q ;<M@8K@FE N@K? 8 DF;
monitor.
R 0.5 – 5.0 and 0.5 – 30.0 8I< JL9JFE@: JN<<GJ K?8K 8CCFN PFL KF J<<K?<<OKI<D< CFN =I<HL<E:P
response of your air chain.
R 30Hz@J8%QJ@E<N8M<Certain exciters will go into protection mode if fed a full modulation sine
wave this low in frequency, so please be careful!
R 30 Hz Phase InvertGIF;L:<J8 %QJ@E<N8M<N?@:?89ILGKCP:?8E><JG?8J<KN@:<G F=,DE@8J :FDGFJ@K<FLKGLKN@K? 8E <OK<IE8C
FJ:@CCFJ:FG<8JN<CC8J PFLI <O:@K<I 8E;PFLI DF;LC8K@FE DFE@KFI *8EP <O:@K<IJ8E;<M<E DFI<
DF;LC8K@FE DFE@KFIJ ?8M< @E8::LI8K< CFN =I<HL<E:P I<JGFEJ< N?@:? N@CC :8LJ< J<M<I< FM<
JL:?8J@J:LJKFD8IP@EDLJ@:K?8K:FEK8@EJB@:B;ILDJN?@:?DFJKJFE>J;F
132
R Bessel Null 31,187.6Hz8CCFNJPFLKFJ<K<O8:K
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8E8CPQ?KDF;LC8K@FE:FEKIFC6FLI DF;LC8K@FE DFE@KFIWJD<K<IJ?FLC;<JJ<EK@8CCP
JK8E;JK@CC8KB%Q1?<:FDGFJ@K<D<K<I@E,DE@8N@CCJK8E;JK@CC8KB%QEFD8KK<IN?8K8EP<OK<IE8C
<HL@GD<EK@J;F@E>&=@K;F<J EFK lack of DC coupling @J 8 C@B<CP:LCGI@K1FK<JK =FIK?@J =FCCFN K?<J<
steps:
R
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output.
R 0<C<:K%Q;ALJKK?<FJ:@CCFJ:FG<@EGLKC<M<CKF8::LI8K<CPI<8:?8G8IK@:LC8IJ<KF=C@E<J
R 0<C<:K%Q3<I@=PK?8KK?<G<8BJI<8:?K?<J8D<C@E<J8KK?<<O8:KJ8D<JGFK
R 0<C<:K %Q-?8J<&EM<IK3<I@=PK?8KK?<G<8BJI<8:? K?<J8D<C@E<J8E;E<M8E;N8K:?K?<N8M<=FID9FLE:<
4<?8M<EFNM<I@X<;K?8K,DE@8J:FDGFJ@K<FLKGLK@J<O8:KCP8::LI8K<6FLD8P8CJFKIPK?<FK?<IK<JK
tones as well as program audio.
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R
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R 0<C<:K%Q8E;8;ALJK=FI<O8:KCPDF;LC8K@FE
R 1?<EJ<C<:K%Q8E;M<I@=PK?8KPFL8I<I<8:?@E>K?<J8D<DF;LC8K@FEC<M<C
R #@E8CCPJ<C<:K%Q-?8J<&EM<IK
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STL) is causing the overshoots OR your modulation monitor is displaying overshoots that are not there. In
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due to the presence of Omnia.9’s built in signal generator.
The L/R Test Generator menu section has the same options (minus Bessel Null) but there are a couple
F=;@==<I<E:<JKFB<<G @ED@E;0G<:@X:8CCPSweep L/R is a slow linear frequency sweep between 30 and
%Q8E;Quick Sweep@J8HL@:BJN<<G9<KN<<E%QN@K?8:C@:B9<=FI<<8:?JN<<G
1?<:C@:B8CCFNJPFLKF8;ALJKK?<KI@>C<M<CF=PFLIFJ:@CCFJ:FG<KFJK89@C@Q<K?<;@JGC8P.L@:B 0N<<G >F<J
8CCK?<N8PLGKF%QKF8CCFNPFLKFM@JL8C@Q<K?<CFNG8JJXCK<IF=PFLIJK<I<F><E<I8KFI
;;@K@FE8CCP8CC)/ K<JKKFE<J8I<><E<I8K<;before8EP;<<DG?8J@J@EJ@;<K?<,DE@88CCFN@E>PFLKF
verify performance of your stereo generator by connecting its output to one of Omnia.9's composite
@EGLKJ8E;:FDG8I<K?<FIP8E;GI8:K@:<FE KNF@EK<IE8C FJ:@CCFJ:FG<JJ@;<9PJ@;<9PLJ@E>K?<)/ -I<
<DG?,LKGLKG8K:?GF@EK)<=K-I<<DG?8J@Q<;N@K?K?<*-5&EGLKG8K:?GF@EK)<=K!<DF;
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8::<GK8EPK?@E>C<JJ8J8EP@E8::LI8:@<JN@CC:FJKPFL9FK?CFL;E<JJ8E;8L;@FHL8C@KP
133
File Recorder Menu
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GIF:<JJ@E>:?8@EFEKF820Y8J?;I@M<FI?8I;;I@M<
<=FI<PFL9<>@EJ<C<:KK?<T+8D<U@EGLKX<C;8E;8JJ@>E 8 E8D<KFPFLIE<NXC<1?<E:?FFJ<N?@:?
GIF:<JJ@E>:FI<#*%!%!%!0KI<8D0KI<8DFI0KI<8DPFLNFLC;C@B<KFI<:FI;
+<OKG@:B8G8K:?GF@EK=IFDN@K?@EK?<GIF:<JJ@E>:?8@E#@E8CCP<E89C<T/<:UKFJK8IKI<:FI;@E>
R The Vox:FEKIFCN?<E <E89C<; G8LJ<JI<:FI;@E>N?<E EF8L;@F@J GI<J<EK8E;?8J 8 J<C<:K89C<
timeout setting.
R The GainJC@;<I:FEKIFCJK?<@EGLKC<M<C@EKFK?<I<:FI;<I&==FI<O8DGC<PFL8I<I<:FI;@E>=IFDK?<
*-5G8K:?GF@EKN@K? K?@J:FEKIFCJ<K8K;PFLN@CC><K8 ; G<8B *-5XC<JL@K89C<=FILJ<@E8
DF;LC8K@FEDFE@KFI@E>JF=KN8I<GIF>I8DJL:?8J*GO1FFC
R The Minimize File Size :FEKIFC8LKFD8K@:8CCP8;ALJKJ K?<I<:FI;@E>I<JFCLK@FE KFD8K:? K?<8:KL8C
EF@J<YFFI F=K?<8L;@F8CCFN@E>PFLKFI<:FI;8 =LCC ?FLIF=F==8@I *-5 8L;@F@E8XC<J@Q<F=FECP
D91?<I<JLCK@E>#) XC<:8EJK@CC9<I<8;9P8EPGIF>I8DK?8KJLGGFIKJ#) 134
If you are recording directly from the Omnia.9 unit or on a remote computer with a high speed connection
KF,DE@8 K?< 0FLI:< N@E;FN N@CC J?FN T- *U@E;@:8K@E> K?< I<:FI;@E> N@CC 9< LE:FDGI<JJ<;- *
JFLI:<;8K8&=PFL?8M<8JCFN<II<DFK<:FEE<:K@FEK?<N@E;FNN@CCJ?FNT3FI9@JU@E;@:8K@E>K?8KPFLN@CC
9<I<:FI;@E>K?<;<:F;<;FLKGLKF=8CFJJP:F;<:&E <@K?<I:8J<K?<I<:FI;=<8KLI<N?@:? 8CCFNJPFL KFI<:FI;
XC<JF=8JG<:@X<;C<E>K? D@ELK<J D@ELK<J ?FLI?FLIJ?FLIJFI ?FLIJJ@K@JJ8DGC<
8::LI8K<PFL:8E JGC@:<K?<XC<JKF><K?<I8=K<II<:FI;@E>@=PFL C@B<1?<I<@JEFXC<C@D@KJ@Q<FK?<IK?8E
K?<8DFLEKF=JG8:<FEPFLI<OK<IE8C;I@M<JFXC<JGC@KK@E>@JEFKI<HL@I<;FECP8EFGK@FE
Time/Date Menu
The Time/DateD<EL ?8JK?I<<JL9D<ELJ=FIJ<KK@E>,DE@8WJ@EK<IE8C:CF:B1@D<7FE<+1-8E;0<K
Clock Manually.
Time Zone Menu
The Time ZoneD<EL 8CCFNJPFL KF:?FFJ<K?<GIFG<F>I8G?@:8C 8I<8
!8PC@>?K08M@E>J1@D<@J8LKFD8K@:8CCP8GGC@<;@E8GGC@:89C<K@D<QFE<J
135
NTP Menu
The NTP D<EL :FEK8@EJ K?< 8;;I<JJ<J =FI XM< +<KNFIB 1@D< -IFKF:FC J<IM<IJ 4?<E <E89C<; NTP
SynchronizationN@CCLJ<FE<F=K?<J<J<IM<IJKFB<<GK?<,DE@8WJ:CF:BJPE:?IFE@Q<;
Set Clock Manually Menu
The Set Clock Manually menu contains the controls for manually setting the time and date.
R Selecting the Update Time or Update Date sliders will refresh the time displayed on the sliders.
2J<K?<0<K%FLI0<K*@ELK<0<K0<:FE;0<K6<8I0<K*FEK?8E;0<K!8PJC@;<IJ KFI<Y<:KK?<
:LII<EKK@D<8E;;8K<K?<E J<C<:KGGCP1@D<FIGGCP!8K<KFGLKK?<E<N M8CL<JPFLWM<J<K@EKF
effect.
136
Scheduling Menu
The SchedulingD<EL 8CCFNJPFLKFGIF>I8DLG KFKN<EKPJ@O;8P8E;K@D<;I@M<E<M<EKJ@E:CL;@E>
JN@K:?@E>2E;F-I<J<KJ=FI<8:?@EGLK:?8E>@E>GIF:<JJ@E>GI<J<KJ=FIK?<#*0KL;@F8E;<8:?%!8E;
0KI<8D@E>GIF:<JJ@E>:FI<J8E;:FEKIFCC@E>K?<;IPMF@:<;<K<:KFI=FI<8:?:FI<
Info Menu
The Info*<EL ;@JGC8PJ<M<EKJK?8K8I<:LII<EKCP8:K@M<JL:?8J"(*,8E;K?<DFJKI<:<EKG8JK
event.
Event Menus (A-B, C-D, E-F, etc.)
Each Event Menu window simultaneously displays controls for two separate events. An event may be
J:?<;LC<;FE FE<J<M<I8CFI 8CC ;8PJF=K?<N<K?<!8PF=4<<E<I8C <M<EK :8K<>FIPN?@C<K?<GLCC;FNE D<EL 9<E<8K? K?<
#LE:K@FE:FEKIFC@J:FEK<OKJ<EJ@K@M<8E;GIFM@;<J8C@JKF=:?F@:<J8GGIFGI@8K<=FIK?<><E<I8C<M<EK
:8K<>FIP#FI @EJK8E:<@=K?<#LE:K@FE:FEKIFC@JJ<KKFT#*-IF:<JJ@E>-I<J<KU8C@JKF=GIF:<JJ@E>
presets will be displayed.
R ,E:<K?<J<G8I8D<K<IJ8I<J<KK?<Event Enable:FEKIFCSEFKJLIGI@J@E>CPS<E89C<JK?8K<M<EKKF
F::LI8KK?<JG<:@X<;;8K<8E;K@D<
R Note:4BDA4C>B4CC7430HC8<40=35D=2C8>=?0A0<4C4AB?A8>AC>4=01;8=60=4E4=C
R Clicking or tapping the Trigger Now9LKKFE<O<:LK<JK?<<M<EK@DD<;@8K<CP
1?<:LII<EK<M<EKI<D8@EJ8:K@M<8E;FEK?<8@ILEK@CK?<E<OKJ:?<;LC<;<M<EKF::LIJ&=FECPFE<<M<EK@J
J:?<;LC<; K?FJ< G8I8D<K<IJ N@CC I<D8@E 8:K@M< @E;<XE@K<CP FI LEK@C 8EFK? =LE:K@FEJ :8E 9< :FEKIFCC<; 2E;F -I<J<K G :FI< -IF:<JJ@E> -I<J<K G :FI< 8E; !IP 3F@:< !<K<:K@FE G :FI< &EGLK 0FLI:< J<C<:K@FE @J EFK P<K
8M8@C89C<9LKD8P9<8;;<;@E8=LKLI<JF=KN8I<LG;8K<
138
GPI Enable
The GPI Enable control is used to turn GPI on or off. Please note that GPI must be disabled in order to
<;@K8E;:FEX>LI<K?<@E;@M@;L8C$-&=LE:K@FEJ
GPI Function A-D / E-H
R The Function control in each GPI channel - A through H - determines which available parameter is
affected when the input signal is received.
R The Lo and Hi :FEKIFCJNFIB KF><K?<IKF;<K<ID@E<K?<JG<:@X: 8:K@FE K?8KF::LIJKFK?<G8I8D<KI<C8PCF>@:8:FEK8:K:CFJLI<=IFD$-&KF>IFLE;@JT<E>8><;U8E;8EFG<E:FEK8:K@J
“”not engaged”.
&=JLGGC@<;9P83$-,3@J$-&T<E>8><;U8E;3@J$-&TEFK<E>8><;U3J@>E8CN@CC8CJFNFIB
139
#FI:FEK@ELFLJ9<?8M@FILJ<FE<$-&=FIK?<8:K@FE8J=FCCFNJ
R LO - Setting 1
R HI - Setting 2
#FIDFD<EK8IP9<?8M@FILJ<KNF$-&WJ=FIK?<8:K@FE8J=FCCFNJ
R
R
R
R
GPI 1 LO - Setting 1
GPI 1 HI - No change
GPI 2 LO - Setting 2
GPI 2 HI - No change
CN8PJI<D<D9<IKFI<<E89C<$-&8=K<ID8B@E>8EP:?8E><J
System Configuration Menu
The 'GAB3; =<L5D<EL :FEK8@EJ K?<:FEKIFCJ KFJ<C<:K8E @EK<IE8C J8DGC<I8K<;<K<ID@E<?FND8EP
GIF:<JJ@E>:FI<J8I<8M8@C89C<?FND8EPJKI<8D@E><E:F;<IJF=<8:?M8I@<KP8I<8M8@C89C<J<K8JPJK<D
G8JJNFI;GFN<I:P:C<FIJ?LK;FNEK?<LE@KJ<K8 ;@JGC8PK@D<FLK<JK89C@J?8E &-TN?@K<C@JKU=FI I<DFK<
%11- 8::<JJ8JJ@>E 8E&- 8;;I<JJKFK?<LE@K8E;J<KLG 0+*-6FL :8E8CJF:?<:B K?<JF=KN8I<8E;
$2& M<IJ@FEJ J8M<PFLI :LJKFD :FEX>LI8K@FEJ KF 8 20 ;I@M< LG;8K<KF K?< C8K<JK JF=KN8I< M<IJ@FEJ
8E;@=PFL GLI:?8J<;8E,DE@8 N@K?FLKK?<8;;@K@FE8C%!8E;JKI<8D@E>:8G89@C@K@<JLECF:B 8;;@K@FE8C
HD and streaming cores via software key.
Sample Rate Menu
The Sample Rate D<EL C<KJ PFL :?FFJ< K?< @EK<IE8C J8DGC< I8K< 8K N?@:? ,DE@8 N@CC ILE <@K?>:G =<L5 to put the changes into
<==<:KB<<G@E>@ED@E;K?8K;F@E>JFN@CC:8LJ<8E@EK<IILGK@FEKFGIF>I8D8L;@F8J,DE@8I<JK8IKJ
140
Processing Cores Menu
The Processing Cores D<EL 8CCFNJ PFL KF :?FFJ< K?< KPG< 8E; ELD9
GIF:<JJ@E>:FI<J 8M8@C89C< <E89C<*-5 -FN:FI<K?<:FDGFJ@K<@EGLKJ8E8;;@K@FE8C8LO@C@8IPDFE@KFIFLKGLK
R The FM pull-down menu allows you to enable a processing core for the FM MPX (composite)
FLKGLK)/FLKGLKFI9FK?
R The MPX Power Control control allows Omnia.9 to operate in compliance with ITU-R BS-412
regulations.
R The HD Cores menu lets you choose how many HD processing cores are available.
R The Streaming Cores menu allows you to choose how many streaming processing cores are
available.
R The Studio CoreD<EL <E89C<JFI;@J89C<JK?<;<;@:8K<;JKL;@F:FI<8E@E;<G<E;<EKCFNC8K<E:P
path especially suited for talent monitoring.
141
R The Aux Monitor Output @J 8 K?@I; JG<8B<I :FEKIFCC<I J@D@C8I KF K?< 0G<8B<I 8E; %<8;G?FE<
,LKGLKJN?@:? :8E 9<LJ<;KF IFLK<8L;@F KF8EFK?<I JKL;@FFI 8I<8 F=K?<JK8K@FE <:8LJ< @K@J
=LCCPIFLK89C<8E;:8EGIFM@;<8L;@F=IFDD8EP;@==<I<EKG8K:?GF@EKJN@K?@E ,DE@8PFL :8E8CJF
use it to feed audio to another processor.
R The Pre-emph Input :FEKIFC @J J@D@C8I KF K?<*-5 @EGLKJ 9LK @J GIFM@;<; N?<E K?< )/ FLKGLK
<@K?<IY8KFIGI<<DG?8J@Q<;F=8EFK?<I8L;@FGIF:<JJFI@J=<;@EKF,DE@8
J Note: This input can receive audio from any of Omnia.9’s three digital inputs only, not the
0=0;>68=?DC0BC740=0;>68=?DC8B=>C2>D?;43
Streaming Encoders Menu
The Streaming Encoders D<EL 8CCFNJ PFL KF J<C<:K K?< D8O@DLD ELD9>:G =<L5 button will places any changes you have made into effect. This will take
your station off the air and disconnect all streams for a few seconds.
Password Menu
The Password menu allows you to password protect your Omnia.9.
142
R Selecting the Enter Password X<C; 9I@E>J LG K?< FEJ:I<<E B<P9F8I; =FI <EK<I@E> 8 JPJK<D
G8JJNFI;N?@:?DLJK9<<EK<I<;8>8@E@EK?</<G<8K-8JJNFI;X<C;=FIM<I@X:8K@FE
R 1FCF:B K?<=IFEKG8E<CKFL:?J:I<<EJ<C<:KK?<Menu button on the Home Screen and choose Lock
Front Panel 1F :C<8I K?< G8JJNFI;J C<8M< 9FK? K?< Enter Password and Repeat Password
X<C;J<DGKP8E;J<C<:KClear Password.
R 1FLECF:B K?< LE@K <EK<K PFLI G8JJNFI;,DE@8
support can help you unlock your unit.
Power Menu
The Power D<EL GIFM@;<J8 D<8EJ9P N?@:? KFI<JK8IKFI J?LK;FNE PFLI ,DE@8 8E;8;ALJKK?<=IFEK
panel display timeout.
R The Power Cycle FGK@FEJ8=<CPJ?LKJ;FNEK?<LE@K8E;I<JK8IKJ@KS8B@EKF8:FDGLK<ITI<9FFKU
143
R The Safe Shutdown option properly and completely shuts down the unit. This function is available
FECP FE K?<=IFEKG8E<CEFKK?IFL>?K?<I<DFK<JF=KN8I<8J8::@;<EK8CCPGI<JJ@E>@K:FLC;I<JLCK@E
8ELEGC8EE<;M@J@KKFK?<KI8EJD@KK<IJ@K<
R The Display Timeout menu determines how long the front panel display remains on after it was
C8JKLJ<;&K:8E 9<J<KKFJK8PFE =FI D@ELK<J?FLI?FLIJFI?FLIJ1?<;<=8LCKJ<KK@E>
is 24 hours.
J Note: +78B 0??;84B >=;H C> D=8CB F8C7 B4A80; =D<14A 0=3 ;0C4A 0=3 8B =>C B7>F= 0B 0=
option on the earliest units regardless of software version.
IP Configuration Menu
The $=<L5C@/B7=< menu allows you to assign an IP address to the Omnia.9 and enter subnet mask
and gateway information for your network.
R The Use DHCP button allows your local router to assign an IP address to the unit.
R Selecting Apply puts any changes you have made to these parameters into effect after a few
seconds.
Outbound Connection Menu
+FID8CCP8E @EJK8E:<F=+=/<DFK<ILEE@E>FE 8I<DFK<:FDGLK<I@E@K@8K<JK?<:FEE<:K@FEKFK?<?FJK- ILEE@E>,DE@8T@E9FLE;U:FEE<:K@FE%FN<M<IK?<I<8I<JFD<J@KL8K@FEJN?<I<@K@JDFI<8GGIFGI@8K<
for Omnia.9 to initiate the connection to an instance of NfRemote on a remote computer (“outbound”
:FEE<:K@FEN?@:?@J8::FDGC@J?<;LJ@E>K?<Outbound Connection menu.
,E<<O8DGC<F=?FN K?@J:8E9<LJ<;@J=FI K<:?E@:8C JLGGFIKP:I<8K@E>8E FLK9FLE;:FEE<:K@FEPFL
are connecting to the support engineer’s NfRemote computer which in turn allows them to control your
Omnia.9.
&EJL:? 8 J@KL8K@FEK?<JLGGFIK<E>@E<<INFLC;GIFM@;<8E &-8;;I<JJFI ?FJKE8D<8E;8GFIKELD98?FJKE8D<@JK?<GI<=<II<;:FEM<EK@FE
144
HTTP Access Menu
The HTTP Access menu allows you to create a “white list” of allowable IP addresses belonging to
E<KNFIBI<JFLI:<JK?8KE<<;8::<JJKFK?<,DE@8JL:?8J8LKFD8K@FEGC8PFLK:FDGLK<IJ
R "EK K?< =FCCFN@E> <O8DGC< 8J 8 >L@;<
1?<9<>@EE@E>F=K?<&- I8E><=FCCFN<;9PK?<JL9E<KD8JBJ<G8I8K<;
by a forward slash).
J Note:/>D<0H4=C4A0= '033A4BBF8C7>DC0<0B:C>0;;>F>=;HC70CB?428P2 '033A4BB
SNMP Menu
The SNMP menu provides the means to enter the information necessary to facilitate communication
9<KN<<E,DE@88E;PFLI0+*-D8E8><I&KJLGGFIKJ0+*-M<IJ@FEJ38E;3:
R The SNMP Enable control enables and disables SNMP. Note that SNMP must be disabled in order
to make changes to this section.
R The Communities and Trap SinkX<C;J8::<GKK?<:FDDLE@KPE8D<J8E;&-8;;I<JJ<JFIE8D<J
of the trap receiver.
145
R The ContactX<C;8::<GKJK?<<D8@C8;;I<JJF=K?<;<J@>E8K<;:FEK8:K
R Information entered in the LocationX<C;8GG<8IJFEK?<=IFEKG8E<C;@JGC8P8E;FEI<DFK<
connections and makes it possible to quickly identify which particular unit you are viewing. This is
especially convenient if you are monitoring more than one Omnia.9 simultaneously.
1?<,DE@8*&XC<@J8M8@C89C<M@8K?<9L@CK@E%11-J<IM<IFEK?<0+*-1<JK-8><N?@:?:8E9<
accessed from any white-listed computer on your network.
"EK<IK?<&-8;;I<JJF=,DE@8=FCCFN<;9PK?<GFIKELD9<I8E;0+*-8J=FCCFNJJL9JK@KLK@E>PFLI&-
address: http://192.168.1.1:7380/SNMP
1<JK*F;<@J8CJFGIFM@;<;KF?<CGJ<KLG8E;M<I@=PGIFG<I0+*-:FEX>LI8K@FE8E;:FDDLE@:8K@FE
J Note: ';40B4140A8=<8=3C70CF74=C4BC<>348B4=01;43=>0DC>64=4A0C43*%$'CA0?BF8;;14
sent and any GETs will return the test value, not the actual value.
Software Update Menu
The Software Update menu displays the current version of the Omnia.9 processing software and the GUI
software. Software downloads are available from the Omnia website and can be downloaded to an
<OK<IE8C20;I@M<
146
R Tapping the Update from USB button will prompt the Omnia.9 to search the USB drive for the
appropriate software and begin the installation process. Updating software WILL take the Omnia.9
F==K?<8@IS9<JLI<KFJN@K:?KFPFLI98:BLGGIF:<JJFI9<=FI<9<>@EE@E>K?<LG;8K<
R &=PFL 8I<LJ@E>K?<,DE@8 I<DFK<JF=KN8I<PFL N@CC 8CJFXE;8E FGK@FE KFUpload Software8
handy feature that lets you update the software on the main unit remotely without making a trip to
the transmitter site if your Omnia.9 is not located at the studio.
R The '/D3 =<L5C@/B7=< B= )' =<8KLI< 8CCFNJ PFL KF 98:B LG PFLI :LII<EK :FEX>LI8K@FE S
@E:CL;@E> @EGLK 8E; FLKGLK J<KK@E>J C<M<CJ 8L;@F IFLK@E> ;@JGC8P GI<J<KJ :8C@9I8K<; JG<8BGI<J<KJ<PFE;@KJLJ<=LCE<JJ8J 898:BLG LK@C@KPK?@J@J8CJF8 >I<8KN8P
to carry over and duplicate your custom settings on another Omnia.9.
Backup Menu
The Backup Menu8GG<8IJ8J8E 8;;@K@FE8C0PJK<D FEX>@K<D only when you are connected to Omnia.
9 via the NfRemote software, not when viewing the front panel display,8E;8CCFNJK?<<EK@I<:FEX>LI8K@FE
F=K?<LE@KKF9<J8M<;KFPFLI- @E8J@E>C<Q@G XC<&K8CJF8CCFNJ8GI<M@FLJCPJ8M<;:FEX>LI8K@FEKF9<
uploaded to the Omnia.9.
1?@J :FEX>LI8K@FE TGIFXC 2E;F &, GI<J<KJ 8E; FK?LI8K@FE@E=FID8K@FE
0?FLC;PFL N@J? KFT:CFE<UPFLI ,DE@8 PFL :8E ;FJFJ@DGCP9P LGCF8;@E>K?<XC<KFK?<J<:FE;LE@K
@EJK<8; F= :FEX>LI@E> <8:? G8I8D<K 8E T@D8>@E8CJ<KK@E>J8JLGCF8;@E>8BEFNE>FF;:FEX>LI8K@FE :8E@DD<;@8K<CP><KK?@E>J98:BKF
normal similar to using a “restore point” in PC terms.
147
R The /19C>=E<:=/2=<L5C@/B7=<9LKKFE J8M<J K?<:LII<EK:FEX>LI8K@FE KFPFLI :FDGLK@KFG<EJLG 84@E;FNJ"OGCFI<IN@E;FN8CCFN@E>PFL KFE8D<8E;:?FFJ<K?<CF:8K@FEF=
K?<J8M<;XC<
R The &3AB=@3)>:=/2=<L5C@/B7=<9LKKFE LGCF8;J8GI<M@FLJCPJ8M<;:FEX>LI8K@FE KF,DE@8
0<C<:K@E> @K FG<EJ LG 8 4@E;FNJ "OGCFI PFL KF E8M@>8K< KF K?< XC< FE PFLI
:FDGLK<I8E;J<C<:K@K:FEXID8K@FED<JJ8><N@CC8GG<8I8JB@E>PFLKFM<I@=PK?<LGCF8;
Note: This will temporarily take Omnia.9 off the air and disconnect the remote connection while
C742>=P6DA0C8>=P;4D?;>03B0=3C74D=8CA48=8C80;8I4B
R 1?<98:BLG :FEX>LI8K@FEXC<:FEK8@EJ&-I<C8K<;@E=FID8K@FE8E;K?<G8JJNFI;9<CFE>@E>KFK?<LE@K
K?8K :I<8K<; K?< XC< 1?< $ =<L5C@/B7=< and Password drop-down menus let you decide
whether or not this information will be uploaded to the unit being restored.
0<C<:K@E>T/<K8@EU=FIK?<&- FEX>LI8K@FEK?<;<=8LCK:?F@:<<EJLI<JK?<&-J<KK@E>J@EK?<LE@KN@CC
9<I<K8@E<;8E;+,1 FM<INI@KK<E 9PK?FJ<@E K?<98:BLG XC<4?8K<M<IJ<KK@E>J8I<8CI<8;P@E K?<
unit receiving the upload will be preserved. Selecting “Override” will take the IP settings in the
98:BLGXC<8E;8GGCPK?<D8JG8IKF=K?<I<JKFI8K@FEGIF:<JJ
)@B<N@J<:?FFJ@E>T/<K8@EU@EK?<-8JJNFI;D<ELN@CCB<<G K?<<O@JK@E>G8JJNFI;JKFI<;@EK?<LE@K
N?@C<T,M<II@;<UN@CC8GGCPK?<G8JJNFI;JKFI<;@EK?<98:BLGXC<
$<E<I8CCPJG<8B@E>@=PFL 8I<NFIB@E>N@K?8J@E>C<,DE@8 8E;E<<;KF9I@E>@K98:B KF8 BEFNE
>FF;:FEX>LI8K@FE:?FFJ<T/<K8@EU&=PFL 8I<:FGP@E>8:LJKFD :FEX>LI8K@FEKF8EFK?<I,DE@8
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Upgrades Menu
You can add options and upgrade your Omnia.9 at any time without the need to purchase new hardware.
Please call Omnia support for more information.
148
149
Chapter 19 Getting the Sound You Want
Chapter 19
Getting the Sound
You Want
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150
Getting the Sound You Want
Quality v. Loudness
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bear in mind that NO processor can eliminate that compromise completely.
The trade-off between quality and loudness is still determined primarily by the settings of the Limiters and
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The added short-term density provided by peak limiting can still make audio sound dull or overly-dense
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somewhat dictated by the program material itself. Audio that is already dense and has a high average
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open with lower average levels and higher peak levels.
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when driving the clippers harder will not create additional loudness but will create more distortion8E;
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Achieving a High Quality Sound
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R Reduce the Clipper Drive (FM core) or Final Limiter Drive (HD and Streaming cores) in 0.25dB
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too much loudness - then go back up a notch. It’s surprising how much a small change can open up
your sound without giving up much in the way of loudness.
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particular bands to achieve a particular sound.
R Raise the threshold of the Multiband Limiters to keep the audio from hitting the limiters as hard or
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R Lower the targets of the Multiband AGC compressors
151
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>@M<LGJFD<HL8C@KP?<I<8I<JFD<JL>><JK@FEJ
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R 2J< =8JK<I 8KK8:B 8E; I<C<8J< JG<<;J @E K?< &EGLK $ 4@;<98E; $ 8E; *LCK@98E; $ sections.
R Raise the target of the Multiband AGC compressors.
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for the additional gain reduction this produces in the limiters).
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R Raise the Clipper Drive (FM core) or Final Limiter Drive (HD and Streaming cores) in 0.25dB steps
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off a notch.
Spectral Consistency & Equalization
Stations often want to create their own “signature sound” on the air with a spectrally consistent output
without regard to the frequency balance of the original source material.
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provides a different end result: The Parametric Equalizer K?<Multiband AGC Targets 8E;K?<Band
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depending upon a variety of factors.
R The Parametric EQ is a very versatile and powerful means by which to shape your sound. You can
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a boost to the very top of the spectrum.
Because the Parametric EQ is located fairly early in the processing chain and ahead of the
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it is applied to all incoming audio whether it is bass shy or bass heavy.
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152
R Raising the target of a particular band can make the audio within that band louder (providing
increased gain) but this can also slow down the release rate if Progressive Release is
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The opposite is true when lowering a target. Doing so can make a particular band softer
(providing decreased gain) but can result in an accelerated release rate when Progressive
Release is used.
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The result may be spectral inconsistencies from source-to-source. If creating a consistent
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advantageous.
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these more aggressive processing stages. While it is not always a bad idea to increase the output
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level.
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153
Chapter 20 Factory Presets
Chapter 20
Factory Presets
>=OC;8:4C70C?A4B4C%>F>AA84B
There are 34 more.
154
Factory Presets
Omnia.9 contains a good assortment of factory presets created by a handful of folks who are deeply
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processor to handle. Each preset has been created with a particular sonic goal in mind. Some are
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“tricks” to achieve a particular sound.
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presets that would work quite nicely on your station will be overlooked simply because no one would ever
think of trying something called “Hot Country” if they were running a Light AC format that needed some
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><K 8 =<<C =FI <8:?)@JK<E =FI 8 JG<:KI8C 98C8E:< K?8K8GG<8CJ KFPFL XIJK8E;K?<E =FI K<OKLI<N@K?FLK
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the “Getting the Sound You Want” chapter of this manual to up the loudness.
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most neutral-sounding factory preset and one upon which many of the factory presets themselves were
built.
1981A/O92 – by Jesse Graffam
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O92” is a 7-band preset that uses tight ratios over threshold in the lowest band for strong consistent bass
regardless of source material with looser ratios in the mid-bands to keep vocals and drums open. It also
takes advantage of the WB AGC2 in the “Bass Only” mode to deliver an especially solid low end and uses
the parametric EQ to “pre-load” the highs which then receive a good dose of fast compression and
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formats.
Barbeque Sound – by Rob Morsink
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providing higher density in lower-level audio and more openness in louder sounds. Fast multi-band
release times offer up density and spectral consistency while the WB AGC-2 operating in the “Bass Only”
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155
Big Bottom– by Leif Claesson
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8E;:FEJ@JK<E:P&=K?<I<WJ98JJKF9I@E>=FIN8I;@EK?<DLJ@:T@>FKKFDUN@CCXE;@K
Big Iron – by Jesse Graffam
“Big Iron” is a 4-band preset dedicated to the glory days of radio and emulates the characteristics of such
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makes use of Omnia.9’s multi-stage AGC sections prior to the multi-band compressors as well as the
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punchy.
Celeste – by LeeXS
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smooth midrange make it a good choice for smooth R&B or light AC stations who value long-term
listening and an easy sound over all-out loudness.
Classical/Jazz – by Leif Claesson
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Echoes - by Jim Kuzman
This preset was created with openness and dynamics in mind but despite its mission remains
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J<KK@E>J8E;?@>?<IK?8EEFID8C $8K<8E;#I<<Q<K?I<J?FC;JGI<M<EKJF=KG8JJ8><J=IFD @E:I<8J@E>KFF
much and allow short-term dynamics to pass through with plenty of punch. This makes it a good choice
for stations who play World or New Age music or for any format where long-term listening is a priority.
Empire State of Processing – by Leif Claesson
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crisp high end.
Eruption 2.0 – by Leif Claesson and Johnny Lundholm
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pairs very well with electronic dance music.
Helix – by Jesse Graffam
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98E; I8E>< 8E &EXE@K< DLCK@98E; I8K@F 8E; 8 =8@I 8DFLEK F= ?@>?=I<HL<E:P C@D@K@E> KF ;<<GCP I<
<HL8C@Q<8E;I<98C8E:<M@IKL8CCP8EP@EGLK
Imagine Hot Mid – by Rob Morsink
This bright and loud 3-band preset puts and emphasis on mids and highs and employs a fast release time
in the WB AGC-1 compressor to keep levels consistent going into the multi-band AGC section which uses
light ratios over threshold. A great preset for making vocals shimmer and for bringing out all the details in
the upper frequencies.
Jill FM – by Jesse Graffam
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vocal and lyrical clarity and a super-smooth mid-range. This preset uses a tight ratio on the AGC but
loose multi-band ratios and heavier multi-band limiting. Carefully designed not to over-process the bass
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as a goal who still need to maintain a competitive degree of loudness.
Motor City – by Jesse Graffam
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the mid-range but is never harsh. This preset makes use of Omnia.9’s Wideband AGC2 after the multi98E;J<:K@FE8E;N?@C<@KLJ<J8><EKC<DLCK@98E;I8K@F9<CFNK?I<J?FC;@KD8B<J<OK<EJ@M<LJ<F=K@>?KCFNDLCK@98E;$ K?I<J?FC;J8E;8 ><E<IFLJ8DFLEKF=:C@GG@E>KF9LIE 8 ?FC<
@E K?<;@8C N@K? 8 M<IP ;<EJ< :FDGI<JJ<;JFLE;M<IP><E<IFLJ 98JJ 9FFJK=IFD K?<G8I8D<KI@: ".
:I<8K<J 8 CFL; ?8IDFE@:I@:? 98JJ 9LK E<M?J &= PFLI D8IB<K
;<D8E;JD8O@DLD CFL;E<JJK?@J@J8>FF;JK8IK@E>GI<J<KK?8K:8E9<98:B<;;FNE@E J<M<I8CN8PJ8J
needed to trade off a bit of that loudness for a cleaner sound.
Northridge FM – by Jim Kuzman and Leif Claesson
“Northridge FM” is a 7-band preset that makes use of the Wideband AGC2 compressor in “Bass Only”
mode to deliver lots of bass punch. Loudness is built relying more upon the dynamics section of Omnia.9
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multiband limiters. It is also one of the brightest and “coolest” factory presets in terms of spectral balance
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157
Northridge HD – by Jim Kuzman and Leif Claesson
4@K? K?<<O:<GK@FEF=T-CLKFE@LDU8CC FK?K?<J8D<GI<J<K=FI #*8E;%!
allows for a very close on-air sonic match when receivers switch between the analog and digital signal.
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?<8MPFEK?<?@>?J=FI%!1?<I<=FI<N<I<:FDD<E;JK8K@FEJLJ@E>T+FIK?I@;><#*UFE K?<8E8CF>J@;<
use “Northridge HD” for the HD path.
NYC Attack of the Camclones – by Jesse Graffam
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LJ<J =8JK 8KK8:B 8E;I<C<8J<K@D<J KF9L@C;;<EJ@KP 8E;?8J;@G @E K?<CFN? :LD< 8E; 8E <8I:8K:?@E> GIFD@E<EK JFLE; ALJK 89FLK >L8I8EK<<; KF N@E 8 D8AFID8IB<K
CFL;E<JJN8I
Orlando – by Jim Kuzman
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T,IC8E;FU @J :FDG<K@K@M<CP CFL; N?<E =<; DFI< :FEK<DGFI8IP DLJ@: 9LK M<IP JL@K89C< =FI A8QQ 8E;
:C8JJ@:8CJK8K@FEJK?8K;<J@I<9<KK<IJG<:KI8C98C8E:<8E;;@8C GI<J<E:<K?8E GI<J<KJ;<J@>E<;JG<:@X:8CCP
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losing the overall feel of this preset.
Passive Aggressor – by Jesse Graffam
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8 >I<8K;<>I<<F=JG<:KI8C:FEKIFC 8E;FM<I8CC CFL;E<JJ9PLK@C@Q@E>,DE@8WJ T$8@E /<;L:K@FE ,M<II@;<U
settings. Looser ratios below threshold and very tight ratios above in the low and high bands coupled with
very slow multi-band attack and release times make this preset a great easy-to-listen-to choice for
stations that place an emphasis on TSL.
Plutonium FM – by Leif Claesson
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;<J@>E<;KFJ8K@J=P K?<JG<:@X: E<<;J F=8 C8I>< "LIFG<8E 9IF8;:8JK >IFLG N?FEFKFECPN8EK<;C8I><
HL8EK@K@<JF=98JJ9LK GC<EKPF=98JJGLE:? 8E;D@E@D8C ;@JKFIK@FE 8JN<CC4?<E GIF:<JJ@E>=FI8CCFLK
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“Bass Only” mode and incorporating the Transient Enhance feature. If your needs call for lots of bass and
;@8C;FD@E8K@FET-CLKFE@LD#*U;<C@M<IJ
Plutonium HD – by Leif Claesson
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XE8C C@D@KK?<J8D<GI<J<K=FI #*8E;%!
allows for a very close on-air sonic match when receivers switch between the analog and digital signal.
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GIF:<JJ@E> K?< I<JLCK N8J 8E FE8@I JFLE; K?8K N8J KFF ?<8MP FE K?< ?@>?J =FI %! 1?<I<=FI< N<
recommend stations using “Plutonium FM” on the analog side use “Plutonium HD” for the HD path.
158
Point Blank – by LeeXS
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98E; C@D@K<IJ K?8E K?< XE8C :C@GG?K 9LK 8CN8PJ :C<8E 8E; N<CC98C8E:<; K?@J
preset delivers good source-to-source consistency without sounding overly compressed or processed. An
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the dial or a CHR station that doesn’t mind trading a bit of loudness for dynamics.
Quintessence - by Sam Sergi
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<EJLI<JG<:KI8C :FEJ@JK<E:PI<>8I;C<JJF=K?<98C8E:<F=K?<JFLI:<D8K<I@8CD8B@E>@K8 >FF;:?F@:<=FI
formats where the music spans multiple decades.
Radium – by Leif Claesson
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loosens up the multiband ratios a bit. The result is a slight loss of loudness but a considerably more open
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:FDG<K@K@FE9LKN@K?8J@>E@X:8EKCPDFI<;PE8D@:JFLE;
Reference Settings - by Leif Claesson
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“loud” markets with great success. If you have your eyes set on creating your very own custom preset for
PFLI JK8K@FE K?@J @J K?< GI<J<K N@K? N?@:? N< I<:FDD<E; PFL 9<>@E PFLI D8JK<IG@<:< 8J @K @J
straightforward and doesn’t include any little tuning “tricks” to create a particular effect.
Rustonium – by Leif Claesson and Jesse Graffam
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;<=8LCK GI<J<K1?< 98JJ @J8CN8PJ GI<J<EK 9LK GLE:?P N?@C<K?<?@>? <E; @J 9I@>?K8E;GIFD@E<EK 9LK
E<MP1?<DLCK@98E;8KK8:B 8E;I<C<8J<K@D<J8I<I<C8K@M<CP JCFN 9LK K?@J 98E;GI<J<K
D8B<J<OK<EJ@M<LJ<F=,DE@8WJGIF>I<JJ@M<I<C<8J<:FEKIFCKF8CCFNGC<EKPF=>8@E:FEKIFC@E<8:?98E;
without the fear of any band getting “stuck” with too little gain. This preset also places the Wideband
$ 8=K<IK?<DLCK@98E;J<:K@FEKF9L@C;JFD<<OKI8CFL;E<JJALJK9<=FI<K?<XE8C:C@GGI<8KT8J@JU
FLKF=K?<9FOGI<J<K=FIE<8ICP<M<IP:FEK<DGFI8IP=FID8K
Stacked Boxes – by Jim Kuzman
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9FO=FI :FDGI<JJ@FE8E;C<M<C@E>8EFK?98E;:FDGI<JJ@FE
8E;8 GIF>I8DG<8B C@D@K8 XE8C
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to the not-so-distant past of analog processing.
Stacked Boxes Plus! - by Jim Kuzman
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:C@GG<I;I@M<=FIK?FJ<N?FE<<;DFI<CFL;E<JJ1?8EBJ@CC
Tokyo – by Jesse Graffam
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K?<98E;T1FBPFU;<C@M<IJ;<K8@C<;KI8EJ@<EKJ8E;G<I:LJJ@FEN@K?FLKJ8:I@X:@E>8M<I8><CFL;E<JJ1?<
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speakers and earbuds as well as higher-quality systems. A tightly-controlled low end ensures the bass
always shows up for the party.
Trinity – by Leif Claesson
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open mid-range and a more classic “Omnia” sound. “Trinity” doesn’t use any parametric EQ or stereo
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FEK?<8@ID8B@E>@KJL@K89C<=FIE<8ICP8EP=FID8K
Upsidasium – by Leif Claesson
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offers the perfect compromise.
Uranium-238 – by Leif Claesson
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dominating loudness is still your goal but “Plutonium” feels too over-the-top.
Zenith – by Jesse Graffam
How much processing can you get away with before things start to sound processed? The 7-band
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little push in the right direction.
160
Chapter 21 Remote Interface Software
Chapter 21
NfRemote Client Software
Connecting to the other side, but with a slick remote
interface instead of a medium and a seance.
161
Omnia.9 Remote Interface Software
1?<,DE@8I<DFK<@EK<I=8:<JF=KN8I<+=/<DFK<@J8J<G8I8K<T:C@<EKUJF=KN8I<8GGC@:8K@FE K?8K:8E 9<
;FNECF8;<; 8E; @EJK8CC<; FE E<8ICP 8EP ;<JBKFG C8GKFG FI K89C<K - F= I<8JFE89CP DF;<IE M@EK8><
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displays.
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that feature) to provide a familiar and feature-rich means of controlling your Omnia.9 remotely. If you can
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8 EF@JP I8:B IFFD 8K K?< KI8EJD@KK<I J@K< FI <M<E K?FLJ8E;J F= D@C<J 8N8P 8K 8 ;@JK8EK JK8K@FE PFL
oversee.
Perhaps one of the most valuable capabilities of the client software is speaker calibration. Since your
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D@:IFG?FE<KFK?<J<KLG N@CC 8CCFN PFL KFG<I=FID 8 :8C@9I8K@FE F=8EPJG<8BPFLI
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6FL D8PNFE;<IN?PN<:FEJ@;<IK?@JKF9<JL:?8E@DGFIK8EK<O<I:@J<N?<EC@JK<E<IJ8I<EWK>F@E>KF9<
?<8I@E>PFLIJK8K@FE FE:8C@9I8K<;DFE@KFIJ$I<8KHL<JK@FE6<JC@JK<E@E>KFPFLIJK8K@FEWJGIF:<JJ@E>FE
speakers of different qualities in a wide variety of listening environments is important to get a “real world”
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&=PFL D8B<8;ALJKD<EKJ98J<;LGFEN?8KPFL?<8I FELE:8C@9I8K<;JG<8B<IJ=IFDN@K?@E K?<-IF>I8D
!@I<:KFIWJ :8I =FI <O8DGC< <M<IP ;<:@J@FE PFL D8B< N@CC 9<@EYL<E:<;9P K?< @E8::LI8:@<J F=K?FJ<
speakers in that room. Details of how to perform such a calibration are found later in this chapter.
Downloading, Installing, and Configuring the Client Software
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N<9 9IFNJ<I=FI<O8DGC<http://192.168.0.183.7380) You will see a screen entitled “Welcome to Omnia.
9 HTTP Server” with a current version number.
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be done each time you update the software in your Omnia.9 to ensure full compatibility between the unit’s
software and the remote software.
Some Important Ethernet/Wi-Fi Network Considerations
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LGFE PFLI CF:8C E<KNFIB1?< :C@<EK8CCFNJ PFL KFD8B< TC@M<U 8;ALJKD<EKJ KFK?<,DE@8 F9J<IM< @KJ
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bandwidth play audio from the Omnia.9 to your remote control PC. The more information the client asks
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162
Understanding the NfRemote Connection Window
It is possible to connect to any number of Omnia.9’s individually or concurrently using NfRemote.
R The Comment X<C; 8CCFNJ PFL KF<EK<I 8 T=I@<E;CPU E8D< =FI <8:? ;<M@:< KFN?@:? PFL GC8E KF
connect.
R The IP AddressX<C;J?FLC;:FEK8@EK?<&-8;;I<JJF=K?<,DE@8?FJK:FDGLK<I
R The PasswordX<C;J?FLC;:FEK8@EK?<J8D<G8JJNFI;<JK89C@J?<;@EK?<,DE@8
R The Connection Type dropdown menu determines whether the connection is Outbound
(NfRemote initiates connection to Omnia.9) or Inbound (Omnia.9 listens for an incoming
connection request from an instance of NfRemote). Note that the IP addresses of inbound
connections are enclosed by chevrons.
R It is possible to stream audio from the Omnia.9/ host PC to a remote PC using NfRemote. The
Audio Streaming dropdown menu enables this feature and determines the type of data
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displays.
163
I Force Lossy enables lossy streaming even on connections that are on the border of being too
slow and forces lossy streaming even on fast connections.
I Force Lossless enables lossless streaming even on connections that are too slow. This choice
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R Clicking on the Connect button will initiate a connection to Omnia.9 whose IP address is currently
displayed.
R The Clear9LKKFEI<DFM<J8CC@E=FID8K@FE=IFDK?< FDD<EK&-;;I<JJ8E;-8JJNFI;X<C;J
R The Add9LKKFE:FCC<:KJK?<:LII<EK FDD<EK&-;;I<JJ8E;-8JJNFI;@E=FID8K@FE8E;:8II@<J@K
to the bottom of the window where it is saved for easy recall later.
R The Update button refreshes the list of saved connections.
R Clicking on the Delete button will remove the selected connection from the list.
R The Move Up and Move Down buttons will move the selected connection up or down respectively
in the list so that you can sort them in any order.
R The User Interface Pointing Device ;IFG;FNE D<EL F==<IJ J<M<I8C :?F@:<J =FI FGK@D@Q@E>
NfRemote depending upon the type of device you are using.
I Local Mouse or Touchpad should be selected if you are running NfRemote on a local PC or
laptop.
I Virtual Machine or Remote Desktop is the correct choice if you are connecting to the
:FDGLK +=/<DFK< =IFD 8EFK?@K@Q<ILJ<IJJ?FLC;8CJFJ<C<:KK?@JFGK@FE
I Local Mouse (Touch Simulation) 8CCFNJ PFL KF LJ< K?< XE><I=I@<E;CP C8PFLK F= K?< 1FL:?
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Desktop option.
I Touch ScreenGIFM@;<J 8 XE><I=I@<E;CPC8PFLKFGK@D@Q<;=FI KFL:? J:I<<E ;<M@:<J C@B<K89C<KJ
or all-in-one PC’s with a touch interface.
I Touch Screen PresentationFG<I8K<JALJKC@B<1FL:? 0:I<<E 9LKN@K? 8C8I><:LIJFID8B@E>@K
@;<8C=FI J@KL8K@FEJN?<E PFL 8I<LJ@E>8 GIFA<:KFI =FI ;<DFEJKI8K@FE FI@EJKIL:K@E>8>IFLG FE
how to use NfRemote.
Initiating an Outbound Connection from Omnia.9
+FID8CCP8E @EJK8E:<F=+=/<DFK<ILEE@E>FE8 I<DFK<:FDGLK<I@E@K@8K<JK?<:FEE<:K@FE KF8E ,DE@8
T@E9FLE;U:FEE<:K@FE%FN<M<I K?<I<8I<JFD<J@KL8K@FEJN?<I<@K@J DFI<8GGIFGI@8K<=FI ,DE@8 KF
initiate the connection to an instance of NfRemote on a remote computer (“outbound” connection).
164
,E<<O8DGC<F=?FNK?@J:8E9<LJ<;@J=FI K<:?E@:8C JLGGFIKP:I<8K@E>8E FLK9FLE;:FEE<:K@FEPFL
are connecting to the support engineer’s NfRemote computer which in turn allows them to control your
Omnia.9.
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Client-Only Controls
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?8M<8CI<8;P=8D@C@8I@Q<;PFLIJ<C= N@K? @KJ :FEKIFCJ PFL J?FLC;=<<C I@>?K8K?FD< FG<I8K@E>@KI<DFK<CP
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'F@E@E>K?<&EGLK#*0KL;@F -IF:<JJ@E> %!0KI<8D@E>*FE@KFI ,LKGLK 8E;0PJK<D FEKIFCJ FE K?<
%FD< J:I<<E @J 8E 8;;@K@FE8C C@<EK L;@F D<EL N?@:? :FEK8@EJ 8;;@K@FE8C D<ELJ =FI C@<EK L;@F
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manual.
;;@K@FE8CCP K?< Save Preset and Load Preset menus for each of the processing cores in the client
software have the additional capabilities of being able to save a preset to the location of your choice on
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<OK<IE8C 20 ;I@M<JN?@:? GIFM@;<J8E<O:<CC<EKN8PKF98:B LG 8EP:LJKFDGI<J<KJFI<8J@CP;LGC@:8K<
those presets on another Omnia.9.
When using the Load Preset=LE:K@FE 9<8N8I< K?8K K?< GI<J<K N@CC 9<CF8;<;KF K?< Current Preset
position and will therefore immediately go on the air;;@K@FE8CCP@E FI;K?<Save Preset function.
Client Audio Output Menu
The Client Audio Output Menu contains additional controls similar to those in the Monitor Output menus of
the Omnia.9 (with a few differences) and a TCP Link Status window to provide information about the
remote connection.
Patch Point Menu
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,LKGLK !<M@:< 8;ALJK@E> C@<EK 3FCLD< 8E; J<KK@E> K?< L;@F L==<I E 8;;@K@FE8C G8K:? GF@EK =FI
monitoring the Client Mic Input is also available.
165
R 4?<E J<C<:K<; K?<Audio Enable feature allows processed audio to from various patch points
within the Omnia.9 to be streamed directly to the client PC. Keep in mind that audio streams require
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8I<FE 8 CF:8CE<KNFIBPFL N@CC><K- *+& * JKI<8D@E>&=PFL:FEE<:KFM<K;8K8I<;L:<;JKI<8D@E> &= 98E;N@;K? @J D8I>@E8C :<IK8@E G8K:?
points such as MPX Input/Output (which requires at least 800kbps) or L/R Pre-emph Input/Output
(which requires at least 400kbps). will be grayed out. You can still monitor the patch points under
T*-5 !<:F;<;U N?@:? ;FK?<;<:F;@E> 8E;;<<DG?8J@J @E K?<,DE@8 @KJ<C=8E;KI8EJGFIKY8K
8L;@FN?@:?I<HL@I<FECPB9GJ
R Enabling the SRC:FEKIFC C<KJ K?< :C@<EK JF=KN8I< ;PE8D@:8CCP 8;ALJKK?<J8DGC<I8K<F= K?<:C@<EK
GC8P98:B&=PFL8I<<OG<I@<E:@E>@EK<IILGK@FEJFI;IFGFLKJKFK?<:C@<EK8L;@FJKI<8D<E89C@E>0/ N@CC I<JLCK@E 8 JK<8;@? 8K8 JC@>?K:FJK KF -2 LJ8>< /<>8I;C<JJK?<:C@<EK
software will automatically determine whether to stream client audio in a linear (uncompressed)
- *=FID8KFI@E8 ;8K8I<;L:<;=FID8KN?@:?N?@C<:FDGI<JJ<;:8EJK@CCGIFM@;<<O:<CC<EK8L;@F
quality.
R 1?< :C@<EK JF=KN8I< I<:F>E@Q<J 8EP 8L;@F FLKGLK ;<M@:<J JG<8B<IJ ?<8;G?FE<J JFLE; :8I;J
@EJK8CC<; FE K?<I<DFK< :FEKIFC - 8E; D8B<JK?<D 8M8@C89C< @E K?< Output Device drop-down
menu.
R The Client Volume slider controls the volume of the selected output devices on the remote PC.
This control is duplicated on the top menu of the client software where it is available at all times.
R !<G<E;@E> LGFE K?< 98E;N@;K? 8M8@C89C< FE PFLI CF:8C E<KNFIB @K D8P 9< E<:<JJ8IP KF 9L==8L;@FKFK?<:C@<EKKF8MF@;;IFGFLKJ9P8;ALJK@E>K?<Audio Buffer control. The range of
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8LKFD8K@:8CCP 8;ALJK JF K?8K K? 8J :C@<EK
8L;@F@J<E89C<;&E 8;;@K@FEPFL :8E LJ<K?<D<K<I ;<C8P :FEKIFC@E K?<;@JGC8P J<:K@FE KF;<C8P
meters further to compensate for any delay occurring after the client PC (such as when using
Bluetooth speakers).
R The TCP Link Status window provides information about the connection status between Omnia.9
8E; K?< I<DFK< - @E:CL;@E> LII<EK -@E> K@D< @E D@CC@J<:FE;J )@EB 8E;N@;K? @E (J<: K?<
L;@F#FID8K- *FI3FI9@JF=K?<JKI<8D8E;0<E;8E;/<:<@M<I8K<J
Client Microphone Input Menu
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<HL8C@Q<I KF:I<8K<:LJKFD ". :LIM<J=FI @E;@M@;L8CD@:J8E;K?< 89@C@KP KFJ8M<8E;I<:8CC :LJKFD D@:
presets. There is also a duplicate button to the TCP Link Status window and the Display Settings menu
for convenience.
Input Device Menu
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microphones you may have plugged into the PC running the remote interface software. If you plug in an
FLK9F8I;D@: N?@C<K?@J N@E;FN @J FG<EPFL D8P E<<;KFK8G K?< T/<=I<J? )@JKU9LKKFE @E FI;E@Q<K?<8;;@K@FE
Load Preset Menu
This menu operates in a manner similar to the Load Preset menu in the various processing cores of the
,DE@8%FN<M<IK?<:C@<EKJF=KN8I<F==<IJ8E8;;@K@FE8C Load From button that allows you to call up a
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166
Save Preset Menu
Just like the Load PresetD<EL K?@J FG<I8K<J C@B<@KJ :FLEK<IG8IKJ @E FK?8 Y8J?;I@M<FI
<OK<IE8C20;I@M<
Client File Recorder
Just as it is possible to record audio from various patch points within the processing chain on the actual
,DE@8 @KJ<C=PFL :8E 8CJFI<:FI;8L;@FJKI<8D<;KFK?<:C@<EK- 1?<I<:FI;<IJ@E K?<:C@<EKJF=KN8I<
NFIB@E<O8:KCPK?<J8D<N8P
Speaker Calibration
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DFE@KFIJ@JK@D<N<CCJG<EK&EFI;<IKFG<I=FID8JG<8B<I:8C@9I8K@FEPFLE<<;=FLIKFFCJ
R A calibrated microphone to capture the audio.
R A pink noise generator to provide audio for measurement (pink noise having an equal amount of
“noise power” in each octave).
R I<8CK@D<8L;@F8E8CPQ<I/1KFM@JL8CCP;@JGC8PN?8KK?<D@:IFG?FE<@J?<8I@E>
R Some means by which to correct for speaker and/or room inaccuracies (such as a parametric
<HL8C@Q<E<I8KFIK?</18E;K?<".CCPFLE<<;
to add is the calibrated mic.
Choosing a Calibrated Mic
It is important to understand that you must use a calibrated microphone designed for sound measurement
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are of no value when calibrating a system.
6FL :8E JG<E;K?FLJ8E;JF=;FCC8IJFE 8 J:@<EK@X:>I8;<?@>?GI<:@J@FE :8C@9I8K<;D@:IFG?FE<9LKK?<
>FF;E<NJ@J SPFL ;FEWK?8M<KF"M<EK?<C<8JK<OG<EJ@M<DF;<CJN@CCGIFM@;<>FF;HL8C@KPI<JLCKJ8E;
are worthy of consideration.
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9I8E;FIDF;<CFM<I " * 8E;!5 /1*NFIB HL@K<N<CC
and can be purchased at local music stores and from various on-line vendors for around $100. If you
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mind) offer XLR to USB and XLR to Firewire converters starting at under $50).
Setting Up the Mic
Place the microphone as close as possible to the position you will occupy when monitoring so that it
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GC8:<;@EJ@D@C8ICF:8K@FEJ@EK?<IFFDPFL :8E:8C@9I8K<9FK?K?<C<=K8E;I@>?K:?8EE<CJJ@DLCK8E<FLJCP&=
PFLXE;PFLIJ<C=@E 8J@KL8K@FEN?<I<K?<JG<8B<IJN@CC9<8==<:K<;;@==<I<EKCP9PK?<@I@E;@M@;L8CGC8:<D<EK
@EK?<IFFDSFE<@JJLJG<E;@E>=IFDK?<:<@C@E>@E8:FIE<I8E;K?<FK?<I@JJ@KK@E>FE8J?<C==FI<O8DGC<
SFI FE<@JJ@>E@X:8EKCP:CFJ<IKFPFLI DFE@KFI@E>GFJ@K@FEK?8EK?<FK?<ISN<I<:FDD<E;G<I=FID@E>8E
individual calibration for each speaker.
167
Setting Up the Client Software for Calibration
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audio from the Speaker Output portion of Omnia.9’s Monitor Outputs. We will also assume that you are in
8J@KL8K@FE N?<I<PFL :8ELJ<K?<J8D<:8C@9I8K@FE J<KK@E>J=FI9FK?JG<8B<IJP;<=8LCKK?<G8I8D<KI@:
". J<:K@FE @J J<K LG @E K?< T:FDDFEU DF;< N?@:? D<8EJ :?8E><J D8;<KF K?< C<=K :?8EE<C N@CC 9<
mirrored in the right channel.
Connect the Client PC and the Calibrated Mic
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and establish that it is working properly in Windows.
Set Up RTA and Oscilloscope Display Windows
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the oscilloscope set up in a Display Window.
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@EGLK=FI<O8DGC<!@JGC8P/1&, C@<EK*@:&EGLK
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JG<:@X: G<8BJ8E;M8CC<PJ4<JL>><JK8EM<I8><J<KK@E>F= 8E;8 18I><K/8E><F=;6FL N@CC
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running through the speakers at a reasonable volume.
We also recommend setting up an Oscilloscope menu in the same manner so that you can watch for any
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JG<:KILD ;LI@E>:8C@9I8K@FE&= PFL J<< FI ?<8I 8EP :C@GG@E>;LI@E>K?< GIF:<JJKLIE ;FNE K?< Master
Gain control in the Main 1 menu.
Feeding Pink Noise To the Speakers
#IFDK?<%FD<D<ELJ<C<:KClient AudioClient Microphone InputK?<EInput Device from the Home
menu of the Omnia.9 client software on the remote PC. Your calibrated mic should be available in the
device menu. You may need to refresh the list to make it visible.
Return to the HomeD<ELJ<C<:KMonitor OutputsK?<ESpeaker OutputK?<EMain 1. Turn down the
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level should be reduced accordingly.
Final Adjustments to the RTA
,E:<PFL?8M<<JK89C@J?<;8EFM<I8CCG@EB EF@J<C<M<C8;ALJKK?<Range control so that you can see the
<EK@I<JG<:KILD<8J@CPFEK?<;@JGC8PEFID8CCP@EK?<M@:@E@KPF=S;
;ALJK K?< Target control so that the band with the lowest level (not counting very low or very high
frequencies that are clearly beyond the ability of the speaker to reproduce) is situated at the top of the
168
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parametric EQ.
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“problem areas” with the speaker/room combination and which are microphone placement anomalies. If
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8 GC8:<D<EKJB<N<;I<8;@E>C@KKC<<OG<I@D<EK8K@FE N@CCHL@:BCPI<M<8C K?@J,E:<PFL ?8M<XE8C@Q<;K?<
D@:GC8:<D<EK@KWJK@D<KF9<>@E:FII<:K@E>K?@E>JN@K?K?<-".
Using the Parametric EQ to Smooth Things Out
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bands of EQ to achieve the desired result is preferred. Cutting (reducing) frequencies is usually preferred
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/<D<D9<IK?8KK?<I<8I<8KFK8CF=8M8@C89C<98E;JF=". 8M8@C89C<KFPFLS@EK?<EQ1 menu and 6
more in the EQ2 menu.
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<HL8C@Q<INFIB9LK8J8HL@:BI<M@<N
R The Gain :FEKIFC ;<K<ID@E<J?FNDL:? K?<JG<:@X<;=I<HL<E:P I8E><@J 8DGC@X<;FI 8KK<EL8K<;
<OGI<JJ<;@E;<:@9<CJ
R The Bandwidth :FEKIFC ;<K<ID@E<J ?FN N@;<FI E8IIFN 8 I8E><F= =I<HL<E:@<J N@CC 9< 8==<:K<;
measured in octaves.
R The Center Frequency :FEKIFC ;<K<ID@E<J N?8K =I<HL<E:PN@CC C@<@E K?<D@;;C<F=K?<8;ALJKD<EK
:LIM<<OGI<JJ<;@E%Q
You will be able to identify where your speakers start to roll off in terms of frequency response (especially
FEK?<CFN<E;GI<KKPHL@:BCP6FL:8EWKFM<I:FD<GLI<G?PJ@:JN@K?8E<HL8C@Q<I8E;JD8CCJG<8B<IJN@CC
E<M<II<GIF;L:<98JJN@K?K?<J8D<8LK?FI@KP8JC8I><IFE<JJFK?<I<WJEFGF@EK@E KIP@E>KF>@M<8;
9FFJK8K%QKFJD8CC DFE@KFIJ@E K?<?FG<JK?8K PFLWCC ><KK?<<HL@M8C<EK F= 8 =I<<JL9NFF=<I4?8KWJ
frequently more effective with bass-shy speakers is taming the often over-boosted mid-bass that
manufacturers dial in in the hopes that you think you have more low end than you do).
J PFL JKL;P K?</1 N< I<:FDD<E; @;<EK@=P@E> 8E; :FII<:K@E>8EP >C8I@E> G<8BJ FI M8CC<PJ FM<JF= =I<HL<E:@<J XIJKKFK8B<:8I<F= 8EPT?FKJGFKJU1?<ENFIB PFLIN8P FLKKF
making broader changes to the overall curve.
Chasing Your Tail
0G<8B GIF:<JJ <JG<:@8CCP @= K?@J @J PFLI XIJK >F8IFLE; N@K? @K
0FD<K@D<J@KWJC@B<JHL<<Q@E>8 98CCFFE4?<E PFL JHL@J? FE<<E;K?<FK?<I<E;GL==JFLK0F@K>F<J
N@K?:8C@9I8K@FE*8B<89FFJKKFFE<=I<HL<E:P8E;K?<JLIIFLE;@E>=I<HL<E:@<J>FLGKFF
"OG<I@D<EK@E>N@K?K?<:<EK<I=I<HL<E:P8E;98E;N@;K?:FEKIFCJN@CC?<CG8JN@CC8 >FF;;FJ<F=G8K@<E:<
and allotting enough time to do it up right. Your efforts will be rewarded when you play music through your
:8C@9I8K<; J<KLG =FI K?< XIJK K@D< 8E; NFE;E<N8E;DL:?DFI<<OG<EJ@M<
Saving Your Calibration Settings
You can save your calibration settings in the form of a preset by going to the Save Preset menu and
KPG@E>@E 8 =I@<E;CP E8D<=FI PFLI XC< GI<=<I89CP FE< K?8KLE@HL<CP @;<EK@X<J K?<JG<8B<IJ 8E;CF:8K@FE
(“JBL 4312 FM Air”).
169
Tweaking After Calibration
6FL D8P EFK@:< K?8KN?@C<PFLI JG<8B<IJ JFLE;J@>E@X:8EKCP 9<KK<I K?8E K?<P ;@; 9<=FI<PFL :8C@9I8K<;
K?<D8E;K?<P8I<K<:?E@:8CCPDL:? DFI<8::LI8K<K?<PJFLE;8C@KKC<K?@E @E K?<CFN<E;8E;8C@KKC<;LCC
in the highs because of the way the human ear perceives sound at the far ends of our hearing range.
4< JL>><JK K?8K @EJK<8; F= D8B@E> :?8E><J KFK?<".J<:K@FEJ PFL LJ< ,DE@8WJ Loudness 1 and
Loudness 2 D<ELJKFD8B<JL9A<:K@M<8;ALJKD<EKJ1?<J<D<ELJ<8:? >@M<PFLK?I<<8;;@K@FE8C98E;J
F==LCCPG8I8D<KI@:<HL8C@Q8K@FE
&=;<J@I<;K?<P8CJF8CCFN PFL KF8;ALJK8K N?8KGF@EKFE K?< 0G<8B<J K8B<
affect (since our ears are less sensitive to certain frequencies at lower volume levels).
R The Minimum slider on each EQ band sets the point on the volume control where the EQ has no
effect on the sound.
R The Maximum slider sets the point on the volume control where the EQ in that band is in full effect
(boosted or cut to whatever gain level you have set).
#FI<O8DGC<@=K?<Minimum JC@;<I@JJ<KKF;K?<Maximum @JJ<KKF;8E;K?<Gain is set to
D@ELJ;<HL8C@Q8K@FE N@CC 9<>@E KFK8B<<==<:KN?<E K?<MFCLD<:FEKIFC@J J<KKF; 8E; N@CC 9<
attenuated by 5dB by the time the control is set to -10dB.
&=K?<D@E@DLD8E;D8O@DLDM8CL<J8I<K?<J8D<K?<CFL;E<JJ:FEKIFCJ=LE:K@FE8J8EFID8CG8I8D<KI@:
<HL8C@Q<I@E;<G<E;<EKF=K?<MFCLD<J<KK@E>
170
Chapter 22 Frequently Asked Questions (FAQ)
Chapter 22
Frequently Asked Questions
(FAQ)
Answering your questions before you even ask them.
171
Frequently Asked Questions (FAQ)
How do the physical rear panel inputs relate to the various processing cores?
A fully-optioned Omnia.9 can take in three independent audio sources via its physical rear panel inputs.
Each physical input is then assigned to an internal signal path within Omnia.9 in the System > I/O
Options > Input 1/2/3 menus.
(<<G @E D@E;K?8K@E;@M@;L8CGIF:<JJ@E>:FI<JDLJK9<<E89C<;;@J89C<;8E;:FEX>LI<;@E K?<System >
'GAB3; =<L5$@=13AA7<5=@3AD<EL8E;FECPFGK@FEJK?8K?8M<9<<E GLI:?8J<;8E;@EJK8CC<;@E
your particular Omnia.9 will be available.
172
1?FL>? K?<I<8I G8E<C;@>@K8C @EGLKJ8I<C89<C<;T*8@E &EUT"0/<=<I<E:<U8E;TLO&EU@E8E <==FIKKF
I<GI<J<EK8KPG@:8C@EJK8CC8K@FEJ:<E8I@FK?<P8I<@E=8:K8CC@;<EK@:8C8E;@EK<I:?8E><89C<
,E< @DGFIK8EKK?@E>KFLE;<IJK8E;@J ?FN <8:? 8L;@FJFLI:<@J TJ?8I<;UN@K?@E K?<LE@K>8@ELJ@E>8
=LCCPFGK@FE<; LE@K =FI @CCLJKI8K@FE 8L;@F ;<JK@E<; =FI K?< #* GIF:<JJFI @J 8CJF J?8I<; 9P K?< %!
0KI<8D@E>8E;0KL;@F:FI<JL;@F;<JK@E<;=FI%! @JJ?8I<;9PK?<0KI<8D@E> :FI<N?@C<8L;@F
for the HD-3 feed is shared by the Streaming 3 core.
Which rear panel output should I use?
1?<:?F@:<F=N?@:?I<8IG8E<CFLKGLKJKFLJ<N@CC;<G<E;LGFEK?<:FEX>LI8K@FEF=PFLIG8IK@:LC8IGC8EK
In an all-digital plant where Omnia.9 is located at the studio and feeding AES audio to an STL with AES
@EGLKJFLKGLK 8L;@FJ?FLC;:FD<=IFD K?<*8@E #*,LK*8@E #*,LK 8E;LO ,LKFLKGLKJ1?<
source of the processed audio for each of these outputs is determined in the System > I/O Options >
Main Outputs menu.
#FI<O8DGC<K?<*8@E #*,LK D@>?K9<J<KKFT#*-I<<DG? )/U@E FI;?K9<
J<KKFT%!UKFIFLK<8L;@F;<JK@E<;=FI K?<%! G8K?LO ,LK D8P9<J<KKFT%!U =FI 8L;@F9<@E>
sent to the HD-2 path.
173
&=,DE@8 @JCF:8K<;8KK?<KI8EJD@KK<IFE<F=K?<KNFI<8IG8E<C:FDGFJ@K<FLKGLKJ:8E9<LJ<;KF=<<;
K?<D8@E #*8L;@F ;@I<:KCPKFK?<<O:@K<I1?@J@J8CJFKIL<@=,DE@8 @J CF:8K<;8KK?<JKL;@F =<<;@E>8
:FDGFJ@K<01) &EK?<J<:8J<J8;ALJKD<EKJKFK?<FLKGLK8I<D8;<@E K?<System > I/O Options > FM
Options menu.
How do I set input levels?
Input levels are set in the System > I/O Options > Source Adjustment menu.
How do I set output levels?
&=PFL 8I<LJ@E>,DE@8WJ;@>@K8CFLKGLKJC<M<CJ8I<J<K@E @E K?<System > I/O Options > Main Outputs
menu.
174
&=PFL8I<LJ@E>K?<:FDGFJ@K<FLKGLKJC<M<CJ8I<J<K@EK?<System > I/O Options > FM Options menu.
Where is the diversity delay?
Omnia.9 provides a “diversity delay” so that FM audio can be delayed and time-aligned to corresponding
%! 8L;@F<EJLI@E> C@JK<E<IJ N@K? %! I8;@FJ N@CC <OG<I@<E:< 8 JDFFK? KI8EJ@K@FE N?<E K?<@I I<:<@M<IJ
switch back and forth between the analog and digital signals.
This control has been relocated in this version of the software and is now found in the System > I/O
Options > Diversity Delay menu. Double-clicking on the slider will bring up three independent sliders for
F8IJ<*<;@LD8E;#@E<8;ALJKD<EK
175
I’m having difficulty getting my Omnia.9 on my local network. I can’t “ping”
it either.
J8 J<:LI@KP D<8JLI< ,DE@8 @JEFKTG@E>89C<UFE K?<E<KNFIB JFK?<@E89@C@KP KF><K KI8;@K@FE8C G@E>
response is not necessarily a sign of a problem.
There are two basic conditions that must be met before a remote connection to Omnia.9 is possible:
R Omnia.9 must have a password set up via the front panel.
R Omnia.9 must be connected to your local network and have a working IP address initially assigned
to it via DHCP (a static address can be established later).
R Note: It is not necessary to “white list” a computer in order to access Omnia.9 remotely. Any
computer running the NfRemote software can access Omnia.9 providing the user knows the
D=8COB?0BBF>A3-78C4;8BC8=6 *A4@D8A43C>0224BBC741D8;C8=++'B4AE4A7>F4E4A
1FJ<KLG8G8JJNFI;E8M@>8K<KFK?<'GAB3;'GAB3; =<L5$/AAE=@2menu from the front panel.
"EK8K<KFK?<'GAB3; 'GAB3; =<L5 $=<L5C@/B7=<menu from the
=IFEKG8E<C C@:B FET2J<!% -UKF<E89C<,DE@8KFI<:<@M<8E&-8;;I<JJ=IFDPFLI!% -J<IM<I&=
8=KN@K?K?<!% -J<IM<IJ8E;K?<I<8I<E<KNFIB@JJL<JFLKJ@;<F=K?<LE@KKF<OGCFI<
4?@C<@K@J9<PFE;K?<J:FG<F=K?@JD8EL8CKFGIFM@;<JG<:@X: &-KIFL9C<J?FFK@E>8;M@J<N<:8E JL>><JK
the following basic steps:
R Try using a different Ethernet cable to rule out that a bad cable is at fault.
R Plug Omnia.9 into a different port on your router or switch to rule out a bad port.
R Plug Omnia.9 into a different router or switch altogether to eliminate a bad piece of hardware.
R Plug another device (such as a laptop computer) into the same port and see if it will communicate
with the DHCP server.
177
R 2J@E>8:FDGLK<IK?8K@J8CI<8;PBEFNE KFNFIB FE K?<E<KNFIBLJ<8E"K?<IE<K:89C<KF:FEE<:K
,DE@8 ;@I<:KCPKFK?8K:FDGLK<I&EDFJK:8J<JK?<:FDGLK<I N@CC 8:K8J8E 8;?F: !% - J<IM<I
and attempt to assign Omnia.9 an IP address.
Where do I get a copy of the remote software?
The remote software client (NfRemote) is always available from within Omnia.9 itself and can be retrieved
using the built-in HTTP server. Any time you update your Omnia.9 software it is a good idea to update
your NfRemote software as well to ensure compatibility.
The computer used to access the HTTP server must be on Omnia.9’s “white list” and Omnia.9 must be
J<KLG GIFG<ICP FE PFLI CF:8C E<KNFIB 1FGC8:< 8 :FDGLK8K< KF System >
'GAB3;=<L5(($113AA and enter the IP address and subnet mask in the format shown below.
Using a web browser of your choice (and the actual IP address of your Omnia.9 to replace the sample
8;;I<JJ ?<I< <EKE 8 T=I@<E;CPUE8D<F=PFLI :?F@:<@E K?<T FDD<EKUX<C;<EK<IK?<&- 8;;I<JJ8E;G8JJNFI;8E;
click “Connect”.
178
Chapter 23 Signal Path Diagrams
Chapter 23
Signal Path Diagrams
Morbidly curious? Want to look smart in front of
co-workers by staring intently at block diagrams?
This chapter is for you.
179
Signal Path Diagrams
*8EP LJ<IJ F= K?<,DE@8 N@CC 9< :FEK<EK N@K? GCL>>@E>@K@E D8B@E> K?< E<:<JJ8IP &, :FEE<:K@FEJ
G@:B@E>8 GI<J<K K?<E J@KK@E>98:B KF<EAFP K?<8D8Q@E>8LI8C ;<C@>?KJ8E;<==FIKC<JJ ;@8C ;FD@E8E:< @K
provides.
Some will want to make changes to achieve a truly custom sound.
0K@CC FK?<IJN@CC N8EKKF <OGCFI<<M<IP EFFB 8E;:I8EEP F=K?<D<EL JPJK<D KF;@J:FM<I <M<IP8M8@C89C<
:FEKIFCK?<I<8I<E<8ICP GF@EKJF=8;ALJKD<EKN?<E 8CC=<8KLI<J8E;:FI<J8I<8:K@M<S9<JKKFGLCC
up a comfy chair and get a pot of coffee going).
And then there are those who will want to know more about how stuff gets done (you know who you are).
&K @J =FI K?8K :IFN; K?8K N< ?8M< GIFM@;<;K?<=FCCFN@E>YFN:?8IKJ J?FN@E> M8I@FLJ J@>E8C G8K?J N@K?@E
Omnia.9.
180
Physical Inputs
181
Input / Output Overview
182
Input Section
MPX Input
MPX Output
183
MPX Patch Point
184
Pre-emphasis Patch Point
185
Undo
186
Input AGC/WB AGC1
187
WB AGC2 / AGC3 Post-Multiband
188
WB AGC2 / AGC3 Bass Wideband
189
WB AGC2 / AGC3 Bass Only
190
Multiband Processing
191
Speaker Controller
192
6/>B3@'>317L1/B7=<A
Chapter 24
0G<:@X:8K@FEJ
)8E4C8=60=32><?4;;8=6502CB0=3P6DA4B
193
6/>B3@'>317L1/B7=<A
Specifications
-I<C@D@E8IPJG<:@X:8K@FEJ8KK?<K@D<K?@JD8EL8CN8JGI@EK<;8I<GIFM@;<;?<I<
Frequency Response
R ;%QKFB%QB%Q@E<OK<E;<;DF;<
Signal-to-Noise Ratio
R $I<8K<IK?8E;L;<<DG?8J@Q<;%QKFB%Q
System Distortion
R )<JJK?8E1%!9<CFNGI<<DG?8J@J@E8L;@9C<89FM<
Stereo Separation
R ;D@E@DLD%QKFB%Q;KPG@:8C
Average Temperature in Thailand in December
R 77 F (25 C)
Digital Output Level
R ;ALJK89C<=IFD;#0KF;#0@E;@E:I<D<EKJ
Stereo Baseband Output
R ;ALJK89C<=IFD;#0KF;#0@E;@E:I<D<EKJ
A/D Conversion
R IPJK8C0<D@:FE;L:KFI 9@KOFM<IJ8DGC<;
R !<CK8J@>D8:FEM<IK<IN@K?C@E<8IG?8J<8E;8EK@8C@8J@E>XCK?G8JJXCK<I8K%Q
R *-5&EGLKJ?8M<?@>?G8JJXCK<I%Q
D/A Conversion
R IPJK8C0<D@:FE;L:KFI 09@KOFM<IJ8DGC<;
R "OK<IE8CJPE:@EGLK
R -<I"0!@>@K8CL;@F/<=<I<E:<0@>E8C!/0I<=<I<E:<=FI;@>@K8CFLKGLKJ8DGC<I8K<
R MPX Outputs are DC coupled
Distance from Earth to Moon
R D@C<J
"OK<IE8C0PE:/8E><
R B%QFIB%Q
Inputs/Outputs
R 8C8E:<;"*&XCK<I<;)/8E8CF>@EGLK8E;FLKGLK:FEE<:KFIJ
R "0/<=<I<E:<&EGLK*8@E !@>@K8C&EGLKLO!@>@K8C&EGLK*8@E #*,LKGLK*8@E #*,LKGLK
8E;LO,LKGLKFE 5)/:FEE<:KFIJ@E:CL;@E>I<:F>E@K@FEF=<OK<IE8CJPE:J@>E8CFE"0/<=<I<E:<
&EGLK *8@E 8E; LO@C@8IP ;@>@K8C @EGLKJ 8::<GK J8DGC< I8K<J 9<KN<<E B%Q S B%Q 8E; ?8M<
sample rate converters.
R Shared Ethernet/Livewire RJ-45 port supporting 100 and 1000 BASE-T Ethernet.
194
6/>B3@'>317L1/B7=<A
Power Requirements
R 3 %Q8LKFJ<EJ@E>
R Power Connector
R &" D8C<;<K8:?89C<N@I<GFN<I:FI;JJLGGC@<;
Power Supply
R Dual internal redundant hot-swappable supplies.
Environmental
R ,G<I8K@E>K<DG<I8KLI<I8E><KF;<>I<<J S;<>I<<J#
R +FEFG<I8K@E>K<DG<I8KLI<I8E><KF;<>I<<J *@ELJS;<>I<<J#
R &E+FIK?D<I@:8;<J@>E<;KF:FDGCPN@K?K?<C@D@KJ=FI 8 C8JJ;@>@K8C;<M@:<GLIJL8EKKF-8IK
of the FCC Rules (CFR). Designed for U.S. and Canadian listing with UL.
R &E"LIFG<;<J@>E<;KF:FDGCPN@K?K?<I<HL@I<D<EKJF=)FN3FCK8><!@I<:K@M<"" 8E;"* Directive 89/336/EEC.
R Designed for RoHS and WEEE compliance.
Percentage of People Who Read Product Manuals Cover to Cover
R 0.00003%
195
,DE@80LG<I@FIM<EL<"8JK C<M<C8E;,?@F20
1<C
#8O
FDE@88L;@F:FD
196

Operator manual (pdf, en)

Transcription

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