Appendix D: G-Force and Perfect DeClipper

INTRODUCTION to G-Force

Hello, and thanks for your interest in Omnia.11 G-Force!

The Omnia.11 G-Force option is the result of several years of intense Research and Development by Frank Foti and Cornelius Gould with the help of Team Omnia including Mark Manolio, Rob Dye and Frank Foti’s boss, his pet cat, Silvio Dante - who provided the funding for the project.

Seriously though, The Omnia Team is proud to bring this technical achievement to our flagship audio processor! G-Force ships as the standard processing engine on all new Omnia.11 units and is available as an optional plugin on all existing Omnia.11 units running v3.0 software or higher. G-Force brings groundbreaking improvements to the art of processing! A demo mode is included in v3.0 so you can try G-Force without having to purchase a license.

A little background on G-Force is in order.

The overall goal of G-Force was to spread the intelligent processing engines to every stage of dynamics processing, including bass clipper management. It has always been Cornelius’ goal to provide intelligence to dynamics processing so that complicated time constant operations could be performed and manipulated with just a small number of parameters for the end user.

Version 1.x of the Omnia.11 was the first step in this direction. Omnia.11 G-Force features dramatic improvements in this area, and the intelligence encompasses all aspects of dynamics processing -- up to and including the program adaptive bass clipper.

Since all of the dynamics processing sections feature internal intelligence, we are able to use the computer in the Omnia.11 to coordinate the local intelligence in each stage. This is done in such a way that their actions can be more faithful to the source content while simultaneously providing unparalleled source-to-source consistency.

One tremendous benefit that this computer management of the intelligent stages brings to the show is the new “Quick Setup” tab. Early testers of G-Force found that the Quick Setup section provided the controls they needed to get their station “dialed into the zone” within 20 minutes or so! This is a great improvement over the days of hunting through the large array of controls available to find that perfect combination of settings that brings your station to life.

During focus group discussions, potential end users liked to refer to the new quick start tab as the “PD Page”, where programmers with very little knowledge of audio processing are able to dial in the overall sound of the radio station with just 9 controls.

Of course, the advanced settings are all still there; just think of them as tools to “put the icing on the cake.”

The new intelligent limiter sections of G-Force are extremely powerful compared to Omnia.11 version 1.x. You can make adjustments that were absolutely unthinkable in 1.x due to intelligent limiter sidechains as well as advanced intermod mitigation algorithms that allow the limiters to operate quickly and positively. They are able to control program peaks effectively and transparently for superior clipper protection. This means music with more punch, loudness, and clarity than before while providing the best on-air announcer vocal performance yet!

The limiter sections are so effective that the “Auto Sense” function, which was a key feature in version 1.x, is not needed (or desired) in Omnia.11 G-Force.

We feel confident that you will enjoy the sound quality of G-Force. In addition, we hope you will also appreciate its forgiving, effortless and positive reaction to user adjustments that will make getting your on-air signature sound fun again.

Now, get out there, and make some great audio!

OPERATION

Ensure that the 11 is running in the blue G-Force mode. If not, navigate to the “PROCESSOR STYLE SELECTION” section in the Configuration page of the remote control webpage interface.

Version 3.0 comes with a demo mode so you can evaluate G-Force without purchasing a license. In demo mode, audio is interrupted every with 1 second of silence every four hours, and the front panel will indicate “DEMO MODE” in bold letters.

To switch to G-Force mode, select the G-Force radio button and then click “ReStart”. Note: The unit will reboot causing audio interruption.

You can switch back to “traditional” (orange) mode at any time by selecting the Q11 1.x (that is: v3.0 running the 1.x algorithm) radio button followed by “ReStart”. Note: The unit will reboot causing audio interruption.

Processor Style Selection screenshot showing a dark interface with radio buttons for 'Q11 1.x FM/HD' and 'GForce FM/HD', descriptive text, and a 'ReStart' button

Omnia.11 G-Force Preset Selection

Our suggested method for using G-Force for the first time is to listen to all of the presets while offline. Pick the ones that sound closest to what you want on-air. Then put the Omnia.11 G-Force on-air, listen to those candidate presets on your “trusted” radios, and decide on one to start with. A list of the G-Force presets with descriptions can be found starting on Page 119.

Quick Setup Tab

Once you’ve picked the winning preset on air, chances are that programmers will want to make some tweaks. The first step to the tuning process starts on the Quick Setup tab. Do start here first, as Quick Setup operates on a global level that touches many internal parameters not accessible by any of the other controls in the user interface.

Quick Setup tab screenshot showing blue interface with controls labeled 'Loudness', 'Bass', 'Presence', 'Treble', 'Stereo Enh', and numeric values

Tips for using the Quick Start controls to adjust a preset to match your desired sound:

If preset is louder than desired but otherwise has the sound you desire, you have two choices: Preserve the texture of the preset and reduce loudness by lowering the “clipper drive” to taste, or create a more open texture for the given loudness of the preset by lowering the limiter drive which will reduce the “overall density”.
Overall bass levels of a preset can be set using the “Bass” control. This will adjust many parameters simultaneously (including important but hidden ones) that govern the bass content of a given preset.
The brightness characteristics of a preset are determined by the three brightness controls. These controls are somewhat interactive with each other and adjust many “under the hood” parameters that determine the high frequency personality of a preset.
The stereo sound stage can be manipulated using the Stereo Enhance control. Our stereo enhancer has also been updated, and to our ears, it captures the sound of the “Space EFX” plugin of the original Omnia classic. The effect is pleasing and the new stereo enhancer shuts itself off completely during mono content. The density control adjusts the speed of enhancement. This is helpful to sculpt the type of stereo sound field you will have when the effect is used.

With these nine “Quick Setup” controls, most users should be able to “dial in” many presets to suit their markets using this small collection of controls alone. More advanced users will find these controls to be very powerful as well as they interact with the existing controls in the advanced menus of the Omnia.11 V3. We encourage you to revisit the quick setup controls to “feel their effect” after making changes to more advanced settings elsewhere in the menu system.

When finished making adjustments, be sure to save your modified preset with a new name (you can’t overwrite the factory presets) using “Save Current As” in the Preset tab.

Quick Setup Control Descriptions

Clipper Drive: Adjusts the “brute force” loudness level of the Omnia.11. Higher levels of clipper drive equal greater loudness, with the potential side-effect of greater overall distortion. Use carefully to avoid unnecessary listener fatigue.
Limiter Drive: Adjusts the overall drive level of the multiband limiter system. The effect of limiter drive in G-Force is VERY different from earlier Omnia.11 versions. The effect of greater amounts of limiter drive is that of more on-air density, and not necessarily that of greater loudness. Extremely high levels of limiter drive creates a “wall of sound” type of effect, but be careful. Such levels of drive can cause listener fatigue (and tune-out after a relatively short period of time).
Bass: The Omnia.11 had many places in the system to tweak bass. Specifically the types of bass, the texture of bass, etc. This control simply turns the overall bass level up or down...because sometimes that’s simply all you really want to do. The bass control tunes many “hidden” parameters within the algorithm with this control.
Bass Thump: Adjusts many different (hidden) parameters under the hood including the action of the dynamic bass clipper. At higher levels, the “kick” or “thump” action of bass material is emphasized.

Presence: This control tunes many hidden parameters to bring out the “presence” or higher mids (brightness) in program content.
Treble: This control tunes many hidden parameters to bring out the highs in program content. The effect starts around the 5K range and up.
Sparkle: The Sparkle control brings out the “air” or “sparkle” region of the audio spectrum. Use just enough to add a touch of professionalism to your on-air sound. Too much, however, can be a bit irritating. This control shares a number of parameters with the “treble” control, so the two are somewhat interactive.
Stereo Enh: Adjusts the stereo image enhancer. Higher values widen the stereo sound field. Careful adjustment of this parameter and the “St. Enh. Density” control can provide a unique stereo soundstage for your station.
St. Enh Density: Adjusts how fast the stereo enhancer algorithm functions. Lower values equate to a slower speed, and can be useful for emphasizing stereo ambient effects (such as reverb. Higher values (faster speeds) are useful for enhancing specific elements within the stereo soundfield (such as instruments, vocals, etc.). When using slower values, it is advisable to use lower enhancement levels (“Stereo Enh” control).

Intelligent Wideband AGC

The wideband AGC in the “version 1.x” of the Omnia.11 was widely acclaimed by many as “the best darn wideband AGC ever”. With G-Force, we took things to a new level.

The new wideband AGC algorithm not only looks at the audio using multiple frequency bands, it also uses psychoacoustic analysis to add more power to the intelligently controlled side-chain. Gain reduction is not just derived by level, but is also based on several psychoacoustic properties. The intent is to provide smooth yet responsive gain control over a wide range of program levels, and to do it in a way that is least obtrusive to the ear and to provide intelligent data for downstream control stages.

The new wideband AGC can be adjusted to ride through material that alternates between full instrumentation to moments of single instrument (or solo voice) and back without obvious disruption of the sound stage, all while still maintaining precise level control.

The Basic Tab controls on the new Wideband AGC operate exactly like the ones in 1.x. However, there are major advancements in the operation of the “Window” and “Make Up” functions found in the “Advanced” tab (shown on the next page).

Advanced Tab Wideband AGC Control Descriptions

Screenshot of the Omnia.11 Advanced tab user interface showing wideband AGC controls on a blue background — buttons and labeled controls including Window, Makeup Threshold, RTP Level, Filter Freq, RTP Speed, Ratio, and Pause Threshold, with WB and ENH buttons visible.

Window: The wideband AGC system of the Omnia.11 (as part of the overall algorithm improvements) now features an improved windowing algorithm. Audio that falls within the "do nothing" window (as defined by the user) will cause the AGC to freeze, neither compressing or releasing. This is useful when high RMS rich material (already processed loudly) is fed to the Omnia.11 as the AGC system will not add more "density" to already dense material as long as their waveforms fall within the window. This is all thanks to improved RMS and density detection schemes that are better able to differentiate between program peaks and long term average levels. You will notice much improved "stability" in the gain riding operation of the AGC system but responsiveness when the need arises.
Makeup Threshold: The Makeup Threshold control itself isn't new, but its operation has changed a bit. It interacts with the Window control and can be thought of as a "soft window". Audio that remains above the makeup threshold value will use the release time as defined by the user. Audio that falls below the makeup threshold value will have a faster release time, allowing low level material to be brought up faster without using a blanket faster release time which could cause listening fatigue. When the audio level is brought up to the Makeup threshold, the normal (user) release time will once again be applied.

The value expressed in the Makeup Gain controls (in dB) is the audio level below the level expressed in the window control where makeup action occurs. The combination of the Window make Up Threshold controls constitutes a “dual staged windowing” system for the AGCs.

Diagram showing AGC output level bar with compression threshold on top, a colored vertical level scale marked in dB, labels for Window -5 dB and Makeup thresh -10 dB, and explanatory callouts for Gain Freeze) Window, Normal Release Timing, and Makeup (faster release) Threshold.

RTP Level: RTP stands for Return to Platform. What RTP does is return the gain of the AGC to the selected amount of gain reduction or “platform level” in the absence of audio. This control adjusts the “resting” or “platform” gain reduction level the AGC will return to when audio pauses or stops (while gated).

The primary purpose of RTP is to prevent the AGC gate from increasing the gain unnecessarily or holding the gain too low during pauses in audio, which could result in an increase in noise level or unexpected sudden increase in level when the audio returns.

RTP Speed: controls how fast the adjustment to the platform level (set with the RTP Level control above) takes place – i.e., how long it takes the AGC to move to the target RTP gain reduction level. Range is from “0” (off) to 11 (fast).

Note: For maximum gain-riding range, we suggest a Wide Band RTP Speed setting of “0.0” for most popular music formats which effectively disables RTP. Use higher settings if you have consistent board operators and don’t mind that quieter program sections remain quieter.

Pause Threshold: activates and changes the characteristics of the dual platform “smart” moment-to-moment gate function. A setting of 0.0 turns off the smart gating, reverting it to conventional gate behavior. Settings other than 0.0 activate the smart gating function and higher settings allow the smart gating to be more aggressive.

Note: Middle-range settings can completely eliminate any perceived “pumping” effect during shorter quiet sections without compromising overall longer-tem gain-riding ability.

Filter Freq: (High-pass Filter Frequency): This drop-down control adjusts the cutoff frequency of the built-in high-pass (lo-cut) filter. Available settings are “Out” (not recommended), “20 Hz”, “30 Hz” and “40 Hz”. A setting of at least “20 Hz” is suggested for most formats to keep sub-sonic signals from affecting the processing performance.

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Ratio: This variable control adjusts the overall compression ratio of the Wideband AGC. As ov version 3.0r78, the values expressed on this control are relative. Lower values equal lower ratio values. .1 is roughly 10:1. A value of .02 is about 2:1.

Flow diagram showing Wide Band, AGC, and Limiters feeding a Master System Controller; yellow callout box to the right lists features including: Multiband Syncing; Intelligent Gating; Overall Bass Management; Bass / Treble Balance; Limiter IM control.

Since the intelligent sidechain of the wideband AGC contains a treasure trove of information about the acoustic sound signature of material on your program buss, we can use this data to manipulate all of the stages after the wideband AGC making the multiband AGCs, limiters, and even portions of the clipping process "program aware".

It is also where the data used by the "Intelligent Gating" and "Mode Control" sections comes from. This means G-Force is capable of being extremely transparent sounding even during heavy dynamics processing.

This data is used by the system controller (the "compute" portion) of the Omnia.11 to synchronize the gating and dynamics functions of stages downstream from the wideband AGC, providing unparalleled clarity and punch to the multiband AGCs and Limiters.

In the past, it could be a struggle to adjust the multiband processing sections downstream of the initial AGC stage. Much of the time was spent managing the "mushiness" of the sound that typically happens as processing stages become further and further removed from the program input.

The system controller can help here since it is able to keep all downstream stages "source aware" so that as much program impact as possible can make its way to the listening audience. You decide how much you want to let through and are not hampered by the limitations of "stacking stages" of processing.

New Multiband AGC

A software multiband AGC user interface screenshot showing a blue control panel with meters across the top and labeled controls such as Drive, Sync, Gate Master, Sync Master, Attack Offset, Engage, Release Offset, Proc Mode, and Master Intel Gate

Basic Tab and Dynamic EQ Controls

Drive: This controls the overall drive level into the multiband AGC system. Individual band drives can be adjusted by tapping the “XO” button to the left of the controls.

Gate Master: The Gate Master adds or subtracts (depending on how it is adjusted) the gating threshold on all of the multiband AGC bands together. This control offsets the values of the individual multiband gate thresholds.

Attack Offset: Attack Offset makes a relative change to the individual attack times within each of the multiband AGCs. Positive values speed up the attack times, negative values slow the attack times down.

Release Offset: The Release Offset control makes a relative change to the individual release times within each of the multiband AGCs. Positive values speed up release times, negative values slow the release times down.

Intelligent Gating (Master Intel Gate): As part of the full implementation of Cornelius’ “G‑Force Technology”, there are a few new functions introduced into the Omnia.11’s G‑Force upgrade. Intelligent Gating is one of them. Since the G‑Force system operates on a global level encompassing ALL of the dynamics processing, it is aware of what is happening in all stages of the process. As a result, it is capable of altering the individual bands of the multiband AGC for processing that better “matches” the program source.

One of the critical aspects of this is coordination of the multiband AGCs so that their operation “blends” with the source material better. A critical function is the Intelligent Gating system.

The G‑Force algorithm can alter the behavior of the multiband AGC’s gating functions in a way that allows them to contribute significantly to building the RMS energy needed for consistent loudness while suppressing common side‑effects often heard in other multiband AGC systems. As the program spectrum shifts around, the algorithm intelligently shifts the gating activity to keep the bulk of RMS build‑up centered around the bands with the most audio energy.

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How much influence this system has over the normal gating functions is determined by the “Master Intel(igence) Gate” control. Higher values (towards 0dB) mean stronger control by G‑Force. The intelligent gating system allows the multiband AGC system to operate over the full range permitted by its local system of gates. As a result, higher levels of intelligent gating will not cause the multibands to “stick” at some high level during moments of dynamic level change. It is only concerned with keeping the bands with minimal energy from floating around “unchecked”.

When adjusted (or “tweaked”) along with the Sync control, a LOT of power can be unleashed!

Sync: This controls the amount of adjacent band syncing in the 5‑Band AGC, relative to the middle (MH or ML) band. A setting of “0.0 dB” provides maximum sync between the bands. At this setting, minimal spectral manipulation will take place. A setting of “-2.0 dB” will allow 2 dB more “independence” in the immediately adjacent band and 4 dB in the second‑adjacent bands. Use lower settings (along with lower settings of the Gate Thresh controls) to get more spectral manipulation. Use higher settings to preserve the frequency balance of the original program material. Also, please note that on presets where the AGCs are operating faster, a lower Sync setting will generally be needed.
Sync Master: The Sync Master control in the Basic tab of the AGC menu allows you to select whether AGC Band 2 (the ML band) or Band 3 (the MH band) will be the master band the other bands reference to when using the Sync feature. In the example below, a Sync value of -4.0dB has been applied:

Select “ML Master” when you want the overall brightness to match closer to the source.

Select “MH Master” if you want things to be brighter overall.

If the Sync control in the Basic tab of the AGC menu is turned down, this control will have less effect. (And virtually no effect at all if Sync is set to -12)
Engage Control: If you would like to bypass the 5‑Band AGC section, switch off the Engage switch.

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Process Mode Switch Control: This switch determines which bands have the G-Force influence of the AGC control side-chains. When switched on, the side-chains are manipulated by the system controller (Omnia.11’s computer) in a way that produces more “open” and “dynamic” sounding audio. As a result, audio within the bands chosen for control “move forward” in the mix, and sound more “musical”.

There are similar controls within the multiband limiter system as well.

The process mode switch control has three options.

0: There is no G-Force altering of the multiband AGC side-chains.

1: G-Force control is applied to the LO, and ML bands of the AGC

2: G-Force control is applied to ALL bands of the multiband AGC system.

Blue AGC control panel screenshot showing the Basic tab with labeled buttons such as Drive, Sync, Gate Master, Attack Offset, Release Offset, Master Intel Gate, and a Proc Mode button indicating Mode 2. The interface features rounded rectangular buttons on a dark blue background.

Blue AGC control panel screenshot similar to the first, showing a Proc Mode dropdown menu with options Mode 0, Mode 1, and Mode 2; includes Drive, Sync, Gate Master and related controls on a dark blue UI.

Advanced Tab Controls

Large blue AGC advanced tab screenshot showing the Advanced tab with many labeled parameter boxes including Gate Thresh (2.5), Attack (0.75), Ratio (0.03), Defeat RTP (OFF), Release (6.0), RTP Level (-12.0 dB), Threshold (6.0 dB), RTP Speed (2.0), Intel Gate (-18.0 dB), Makeup Thresh (-5.0 dB), and Window (-4.0 dB). A band diagram on the left shows LO, ML, MH, HI, SH band buttons.

HI Band AGC Advanced Tab Controls

Each of the multiband AGC sections has a few new controls added. All of the multiband AGC bands feature “Window” and “Threshold” controls. The three highest bands also have their own “Intel Gate” controls.

The Window Control: The wideband AGC system of the Omnia.11 has always featured a wideband “do nothing” window. We have now extended this functionality to the multiband AGCs. The newly re-designed windowing algorithm makes it possible to finally implement this function to the multiband AGCs.

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For more information on the windowing function, refer to the Wideband AGC section.

Audio that falls within the “do nothing” window (as defined by the user) will cause the AGC band to “sit there”, neither compressing nor releasing. This is useful when high RMS rich material (already processed loudly) is fed to the Omnia.11 as the AGC system will not add more “density” to already dense material – as long as the waveforms fall within this do nothing window.

Makeup Threshold: The makeup thresholds in the multiband AGCs operate the same as in the wideband AGC. The Makeup threshold interacts with the window (gain freeze window) control. The Makeup threshold control can be thought of as a “soft window”. Audio that remains above the makeup threshold value will use the release time that is defined by the user. Audio that falls below the makeup threshold value will have a faster release time – this allows low level material to be brought up faster without using a blanket faster release time, which could cause listening fatigue. When the audio level is brought up to the Makeup threshold, the normal (user) release time will once again be applied.

The value expressed in the Makeup Gain controls (in dB) is the audio level below the level expressed in the window control where makeup action occurs. The combination of Window, and Make Up threshold constitutes a “Dual staged windowing” system for the AGCs.

Diagram of AGC output level showing a vertical colored bar scale from 0 dB down to -22 dB with a labeled compression threshold at the top; left-side blue boxes indicating Window -5 dB and Makeup thresh -10 dB; annotated regions to the right labeled (Gain Freeze) Window, Normal Release Timing, and Makeup (faster release) Threshold, with a caption-like label AGC Output Level beneath the scale.

Threshold Controls: We’ve added Threshold controls to the multiband AGC system. This will allow expert users to custom tailor what “flat frequency response” means for their formats.
Intelligent Gate (Offset): In addition to the master intelligent gating in the top level multiband AGC control set, we’ve provided means via the “Intel Gate” controls (in the advanced tab) to offset the value of the master intelligent gate control on the highest three bands of the multiband AGC. This ability comes in handy in controlling the “brightness” characteristics of the multiband AGC system. Lower “Intel Gate” numbers allow that band to “stand out” more in the mix.

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Dynamic EQ - An Overview

Adjustment of the dynamic EQ can be made by clicking on the “Dyn EQ” button on the multiband AGC Basic controls tab.

Screenshot of the Dyn EQ graphical user interface — shows a large frequency response graph on the left (dark grid with a yellow response curve) and a blue control panel on the right with labeled buttons, sliders and numeric readouts; overall interface has a dark/blue theme and multiple band control sections

The Dynamic EQ is a revolutionary tool for audio processing. Its history can be traced back to the Telos Delta phone hybrid from the mid 90’s, and later adopted into the Telos VX phone system. It was revolutionary for phone hybrids, and Frank Foti and Cornelius Gould recognized it to be a powerful concept to bring to audio processing.

The dynamic EQ is NOT a multiband compressor, AGC, or other similar process. It is a process that ONLY operates as a program controlled equalizer. It does not care about level. If the audio is quiet, it will do its thing at that quiet level. If it is loud, it will do its thing at that level.

As a result, it can provide spectral consistency from source to source without messing with the dynamic range of the program content!

For Omnia.11 G-Force, the Dynamic EQ was transformed into a four band process, and placed ahead of the multiband AGC. It is able to manipulate the frequency balance of the LO, MH, HI, and SH bands. The ML band is used as the reference for the others, so the frequency balance there is static, but the static level can be changed by the end user for tailoring the frequency balance that is output to the multiband AGC section, if desired.

The operation of the dynamic EQ can be observed using the dynamic graph to the left of the controls. It will display in real time what actions the Dynamic EQ is performing on program content.

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Dynamic EQ Adjustment

There are a number of controls available to the end user for customizing its operation to their respective formats.

Dyn EQ Engage: This switch can be used to bypass the Dynamic EQ stage in the Omna.11 processor. It can be useful to A/B with and without, particularly when you see an extreme equalization curve being developed. Doing this provides great insight into the power of the Dynamic EQ feature, and is a great diagnostic tool!
Dyn EQ Mode: There are two modes of operation for the Dynamic EQ: “Separate” and “Interactive”.

Separate Mode: In Separate mode, each individual EQ engine watches the master reference calculation algorithm, which monitors the “ML” crossover output.

Software user interface showing Dynamic EQ controls on a blue background with multiple labeled buttons and numeric readouts for LO, ML, MH, HI bands and boost/cut ratios.

Block diagram titled Dyneq 'SEPARATE' Mode showing a main crossover feeding SH, HI, MH, ML, and LO bands into individual EQ Engine blocks and a central REFERENCE Calculation block distributing reference signals to the EQ engines, with arrows to multiband AGC outputs.

Separate Mode maintains a “warmer” tonal balance with “a bit of top end sparkle”. In Separate mode, the Dynamic EQ graphic display shows the frequency response of the Dynamic EQ system as it feeds the multiband AGC.

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Interactive Mode: In Interactive Mode, the top three bands of dynamic EQ operate in a chain, where the SH EQ engine watches the HI EQ engine for its reference, and the HI EQ engine watches the MH engine. The MH engine watches the reference engine.

Interactive Mode maintains a “brighter” tonal balance.

The Dynamic EQ display representation needs to be interpreted a bit differently in interactive mode. You may see a graph that shows 2 dB of boost in the MH EQ, none in the HI EQ, and, maybe 5 dB of boost in the SH EQ. While this looks like it would be strange, keep in mind that what you are seeing in this case (INTERACTIVE MODE ONLY) is a representation of the gain calculations relative to the adjacent reference band.

Boost Ratios: The boost ratio controls are used to limit how “hard” the EQ engines operate. 100% settings allow the system to operate in a 1:1 ratio. In other words, a 3dB difference (or error) between an individual EQ Engine and its reference results in a 3 dB EQ correction. 50% settings result in a 1.5 dB correction for the same scenario.
Cut Ratios: In the initial G-Force release, they are disabled. When enabled, they will allow the ability to reduce EQ gain when necessary.

New Limiter Section

Blue multiband limiter plugin interface screenshot showing a 'Limiters' section with sliders, buttons and a 'Basic' tab layout

Basic Tab Controls

In Omnia.11 Version V3 with G-Force, the G-Force Technology extends to the multiband limiter section as well! Users can choose how much of this effect is applied and where using the LF and HF mode switch controls, as well as the LF & HF density controls.

The main goal of the G-Force Technology in the limiter stages is to manage & create more consistency in the texturing created by the multiband limiters.

Drive control: In Omnia.11 G-Force, the limiter drive control has an entirely new role in life. It not only adjusts the overall drive level to the limiters (as before) but now it serves a bigger purpose of “texturing” your station’s audio.

Due to the super tight control characteristics of the new limiter system, and its new high speed ultra-low IMD management algorithms, driving the limiters hard without loss of quality or clipper management is possible! Driving the limiters harder causes a smooth, forgiving, and carefree transition to a “thicker” or “denser” on-air sound.

Older version issues such as inconsistent live vocal quality are GREATLY reduced (if not eliminated) in G-Force. Driving the limiters lighter or harder does not change loudness levels on the dial. It only manages how “dense” your station’s audio sounds. For a more open / natural sound, watch the multiband limiter activity on high RMS content (like the choruses on heavily compressed / limited content like P!nk, or Kelly Clarkson songs - or metal songs in general), and adjust the multiband limiter Drive to just “tickle” the limiters to about maybe 1-2 dB or so (3-4 dB when the optional Perfect DeClipper is used). What you will see is that the limiters will run extremely lightly on high RMS material and work harder on dynamic content (such as older songs, and live voice), yet sound remarkably transparent and loud! Why “re-limit”

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program material that is already limited to within an inch of sanity and doesn’t need any additional density enhancement? This allows the limiters to work as real peak limiters, adding density only to material that needs it.

Attack Offset: Similar to the scheme in older Omnia.11 software, the Attack Offset control makes a global change to all of the attack times in the multiband limiter system. A bigger number equates to a faster attack time. The individual attack and release times are scaled up or down according to the Attack Offset control setting. A value of “-5” places the multiband limiter attack time under computer control (or automatic attack), where the system actively (dynamically) modulates attack times for the best “punch” vs. “clipper peak control”. When in “automatic attack” mode, the individual attack controls in each of the limiter sections become controls to “modify the shape” of the automatic attack times.

Since the limiters’ attack times intelligently engage whenever extreme conditions exist, using a value of -5 places the system solely under the control of the computer. Higher Attack Offset values creates an “override”, allowing attack times to be more under user control, and less under the control of the computer -- unless a condition occurs to cause the user value to be insufficient to protect the final clipper, in which case, the computer will (temporarily) override user attack settings.
Release Offset: The release offset control does the opposite of the Attack Offset control mentioned above. A higher value creates a faster release time across all limiters. A value of “5” places the exact release time of the individual limiters under control of the computer (automatic control).

When in automatic mode, the release times are actively modulated to release as fast as possible without causing objectionable intermod distortion, and minimizing listener fatigue. Settings lower than “5” gently transitions to a slower, program controlled, release slope. Lower values are useful for programming meant for long term critical listening.
LF & HF Limiter Density controls: Use these controls to set the desired amount of “density texturing” of the limiter sections. Higher number values equal more density (or “thickness”) created in the high or low frequency bands. For greater TSL (Time Spent Listening), lower values in the HF Lim Density control create less long term listening fatigue. We recommend a value of around “2”.

Higher values of HF Lim Density can be useful where limiter activity in general is extremely light, or if users want to emulate the HF characteristics of older analog audio processing gear…which can be useful for some “retro” formats.

There is more freedom in the lower frequency bands (LF Lim Density control). Lower value numbers here create more “openness” in the low frequency and low-mid bands (SL, LO, and ML bands). Higher level settings give more “sustain” to these frequencies, and can add a level of “excitement” to some material.

The density controls operate by modifying parameters in the computer controlled attack & release algorithms.
Limiter Mode switches: These switches determine which bands have dynamics sidechain manipulation by the system controller (Omnia.11’s computer). When switched on, the sidechains are manipulated in a way that produces more “open” and “dynamic” sounding audio vs. the traditional “flat” sound produced by multiband limiters. As a result, audio within the bands chosen for intelligent control “move forward” in the mix, and sound more “musical”.
LF Limiter modes: The LF limiter mode switch features three modes:

Mode 0 is “off”.

Mode 1 turns the SL and LO bands on. This produces more dynamic audio in the bass frequencies only.

Mode 2 turns the control mode “on” for not only the SL and LO bands, but the ML band as well.

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HF Limiter modes: There are two modes that determine the dynamic control status for the MH, HI, and SH bands:
Mode "0" is off.
Mode "1" is on.

Improved Equalization System

The limiter section of the Omnia.11 now features an extensive equalization system.

Limiter equalization user interface screenshot showing a blue-themed GUI — left side a black frequency/level plot, right side control panel with EQ knobs and parameter boxes

In addition to the previous three parametric bands of equalization, users now have a fully adjustable low and high shelf filters. This comes in VERY handy when there is a desire to reproduce the classic "low end" sound of earlier Omnia processors. For example, you can set the low shelf to lowpass at 80 Hz with a Q of "0.9", and a few dB's of boost for smooth pleasing "oomph" to the bass texture of program material.

Frequency response graph with orange grid lines and a thin blue response curve, axes labeled dB (vertical) and Hz (horizontal)

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New Bass EFX Tab

Screenshot of Bass EFX tab showing a blue interface with labeled controls — Solar Plexus (ON, 0.8 dB), Subharmonic Balance (-5.5 dB), Bass Enh Engage (Engaged), Phat Bass (-4.0 dB), Deep Bass Slope (12dB / Oct), Deep Bass Boost (1.0 dB), Deep Bass Range (6.5), Warm Bass Boost (0.0 dB), Warm Bass Range (5.0) — and a question-mark help icon in the lower-right corner.

Bass EFX Tab Controls

Solar Plexus: Solar Plexus is in G-Force as well! We’ve added a new control called “Subharmonic Balance”.

When Subharmonic Bal is set to “Off” the Solar Plexus effect is very close to the subtle “thunder” as heard in the original “thunder bass” control in earlier Omnia.11 version 1.4. When Subharmonic Balance is turned “up” the Solar Plexus effect is more obvious, and encompasses a broader range of bass frequencies.

Similarly to Deep Bass range (see below), be careful not to apply too much of the Solar Plexus effect as it can exaggerate low frequency room noise or mic “plosives”. Higher settings can also cause some audible distortion when heavy bass is present. Be sure to monitor on speakers or headphones that can reproduce the lowest frequencies in order to hear the full effect of what Solar Plexus is doing.
Deep Bass Boost & Warm Bass Boost: These controls can be used to apply a “static boost” for both the Deep bass and Warm Bass enhancers. Boosting the levels here will cause an immediate and audible increase to their respective frequency bands.
The Phat Bass control adds subtle low mid / upper bass detail to program content, and helps to define the sound of bass not only in small speakers, but larger ones as well. The effect is program controlled, so do not fear the use of large amounts of “phat bass” boost.
Deep Bass & Warm Bass Range: If these “range” controls are set to “0”, there is no dynamic program controlled action of the bass enhancers. The static boost controls on the basic menu act as shelving (deep) and bandpass (warm) equalizers of sorts. As the range controls are increased, the Omnia.11 dynamically applies more enhancement in these frequency areas whenever they are deficient in the program source. The

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higher the settings, the more aggressively Omnia.11 will try to bring out these frequency tones. If there are already sufficient amounts of energy in these bands, the Omnia.11 will apply less enhancement to these bands. The Omnia.11 will not apply any additional enhancement to these frequency bands on material that has really strong bass content. It will only add where energy is deficient.

Be careful with high amounts of deep bass range if you do not have high pass filtering on studio mics. High levels of deep bass range can enhance microphone “plosives”. So, if you have a notorious “P-Popper” on staff, either employ 80 Hz high pass filtering on the studio mic processor, or use less deep bass range!

Excessive warm bass range boost can cause some program material to sound “muddy”. Listen carefully, and adjust the controls using small amounts over a long period of careful listening.

Deep Bass Slope: When set to 12 dB per octave, the deep bass / warm bass characteristics are broader, and favors upper bass / low mid tones. This is a useful setting for stations playing primarily older material (such as Classic Rock or 70s & 80s formats).
Bass Enh Engage: The G-Force release features the ability to turn off the active bass enhancement stages to allow for “before and after” comparisons.

New FM Clipper Features

The FM clipper section of the Omnia.11 V3 / G-Force update contains the same groundbreaking final limiter unveiled in version 1.6.

Blue FM clipper meter graphic showing three vertical sliders labeled Bass Clip, Main Clip, and BS-412 with decibel markings from -30 dB to 0 dB and colored meters indicating clip levels

We’ve added a meter that quantifies the “perceived distortion” for a given clipper setting. This helps users to adjust for the “loudness vs. distortion” tradeoff.

The level of distortion will be displayed in red on top of the main clipping depth (Main Clip) meter (in blue).

Generally speaking, the FM clipper drive is properly adjusted when you are able to achieve the desired loudness with a minimum amount of distortion. Some adjusting of the “limiter drive” control may be necessary if the proper loudness level is not achieved without excessive distortion.

It is normal to see brief moments of high distortion readings that last fractions of a second. This is OK. You do not want long term distortion (red) levels beyond 1 or 2 dB or so. The exact reference here varies from market to market as the acceptable level of distortion is not the same across a broad range of radio markets.

FM Clipper Advanced Features

Once you are in the FM Clipper section, choose the “advanced” tab below to switch to the advanced features.

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Blue audio plugin interface screenshot showing bass clipper controls labeled Clipper Silk, Bass Style, Bass Clip Thresh, Bass Clip Smooth, Bass Clip Drive, Bass Clip Tight, Bass Punch, with meters and tabs (Preset, Quick Setup, Bass EFX, Basic, Advanced).

Clipper Silk: This function is similar to the “Clipper Silk” parameter available in older Omnias. Higher values feature a smoother sound to the clipper, lower values can provide more “clarity”, but could possibly be a bit less forgiving in terms of distortion. Care should be exercised when adjusting the dynamics and enhancement settings in earlier stages if lower values are used.
Bass Clip Drive: Increasing bass clipper drive can create stronger “dominating” bass. It may be necessary to increase “Bass Clipper Tightness” at higher drive settings to prevent a “muddy sounding” low end.
Bass Clip Tight: Higher settings create a “tighter” more defined bass sound. Lower settings create a “girthy” bass sound, but too much bass clipper drive with lower settings here could create a flabby overwhelming bass sound. Use care, and also adjust the “Bass Thump” in the quick setup tab if necessary.
Bass Punch: This control shifts around the distortion products created by the bass clipper system. Higher settings allow more clarity of deep bass products, but might create some intermod distortion of higher frequencies. Lower settings produce less high frequency intermod distortion, with the trade-off being thinner sounding bass.

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Perfect Declipper (optional)

Omnia.11 G-Force was designed from the ground-up assuming the incorporation of Hans Van Zutphen’s “Perfect Declipper”, an ingenious real-time de-clipping algorithm.

What it does is to continuously monitor program source content as it arrives to the Omnia.11’s input. It watches for “clipped” waveforms (waveforms clipped by either lack of headroom, or deliberately in highly mastered music tracks). When it sees these clipped waveforms, it calculates the angular trajectories of the waveforms as they approach flat topping, it recalculates the peak that would have been there.

The Perfect Declipper does not stop there! It also monitors all of the harmonic waveforms, and their relationships to the fundamental frequencies that were present before flat-topping, and regenerates their activity around the main signals that were flat-topped!

This process greatly reduces (if not completely eliminates) distortion present in the mastering process. This is important for broadcast audio processing! It may seem silly at first glance to unclip material so it could be clipped later, but when you look closely, it makes a lot of sense!

Consider the fact that much of the sophisticated work that happens at the back-end level clipping system of today’s FM broadcast processors. The modern-day FM broadcast processor uses sophisticated clipping algorithms designed to hide much of the distortion you would normally hear for a given level of loudness (dial presence). Now consider that a lot of the same type of distortion is present in much of today’s modern mastering techniques - only not as sophisticated. There is NO distortion masking used at the record mastering level.

In this situation, much of the distortion the FM system is built to remove is already part of the program content. So the work of these advanced broadcast loudness clippers is compromised by the fact that the same type of distortion is in the source material! When run through broadcast processing, the distortion you don’t want to make on the air is already present in the source, thus making your station sound “bizzy”, or “fuzzy”.

Perfect Declipper adds clarity to your on-air sound by removing this distortion. Also, since much of the clipping in the mastering process removes just about all the peaks in percussion and other transient waveforms, modern source material sounds flat, uninteresting over the air. With Perfect Declipper, these transients are restored. Percussion (drums, kick drums) have impact again. Your music program audio will “breathe” on air, and have depth of field.

Turning on Perfect DeClipper

The Perfect Declipper can be switched on by tapping the “input” tab, then by turning on the “DeClipper” switch.

The Perfect Declipper requires an activation license to function. If this option has not been purchased with G-Force, please contact your Omnia dealer to purchase a license.

NOTE: If you are using the DJ output to feed your announcer headphones, Perfect Declipper will need to remain OFF because it introduces additional delay right at the input, affecting all of the Omnia.11’s outputs including the DJ output.

Omnia.11 input configuration GUI showing various input levels and the DeClipper control; DeClipper ON button highlighted with a yellow arrow

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New Remote Control Options

Omnia.11 G-Force now features two methods of remote management. The first is via the traditional Java Web browser based remote control. (Note that, to our knowledge as of this writing, only the Mozilla Firefox browser and some versions of Internet Explorer still have full Java capabilities).

The second is by a new downloadable Java stand-alone application. In recent years, it has become increasingly difficult to use the web browsers with Java due to security issues. Some browsers have eliminated Java support all together. This lead us to introduce a different, and more stable remote control approach.

The stand-alone download option is available by logging into the Omnia.11 with your browser, and going to the “remote” tab.

Dark-themed remote control interface screenshot showing a REMOTE CONTROL header and two option panels labeled Remote Control Applet and Remote Control Application with descriptive text and buttons.

Clicking on “Remote Control Application” will prompt you to save the .jar file to your local computer. You will still need to have Java installed on your computer to run this app, but you will no longer need to have Java installed within your web browser. In fact, it may be desirable that you use the downloadable application only, and uninstall the remote application from your browser.

Upon each login, the stand-alone remote control application will check its internal version with the operating software of the Omnia.11. If a version conflict is detected, the application will alert you to the condition. It is advisable to log into the Omnia.11 after a software update to download the version compatible with the current Omnia.11 OS.

New (remote control) feature…

At the bottom of the remote control window, you will see a horizontal rectangle box. This is the “holding pen” or Toolbar for controls you wish to have quick access to.

Screenshot of the bottom of the remote control window showing a long horizontal rounded toolbar area (the holding pen) with control icons and a small question-mark help icon on the right.

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Controls can be pinned to the toolbar by right clicking the control. An option to “send to Toolbar” will appear. Clicking on this option will place the control to the toolbar.

A close-up screenshot of a blue user interface showing control buttons including a tooltip Send to Toolbar, and labeled controls such as Sync, Gate Master, Sync Master, Attack Offset, and Engage.

A wide screenshot of a blue application interface showing level meters at the top and a lower control bar with labeled controls (e.g., Drive, Clipper, Bass Clip Thresh, Overall Limiter, and Filter Freq).

Controls can be removed from the toolbar by right-clicking on the shortcut, and choosing “Remove”.

G-Force Preset Descriptions

Below is the complete list of G-Force presets included in this release. Note that they don’t all have descriptions as many are fairly self-explanatory and some are variations on an overall “theme”. Some do not have format names at all. Some may recognize a few “rocketry” terms thrown in ☺ Note that the names and descriptions are not set in stone! You should listen to as many as possible with your program material (preferably offline at first) and pick one or two to start with.

AC: The AC group could be a good place to start for you if you are interested in a more “laid-back” sound.

AC_Punch / AC_Punch_Open / AC_Soft / AC_Soft_Bass / AC_Vocal_Punch: Open sounding presets useful for AC / Hot AC, or any other music format where higher TSL is desired. 3.0.1: add more dial presence and clarity.

Analog_AAA / Analog_CHR / Analog_CHR_Brite / Analog_Rock / Analog_Smooth1 / Analog_Smooth2: The Analog group has a warm, analog-type processor sound with variations in loudness and brightness while staying true to that warm, analog sound.

Azimuth: A preset with good midrange power. Good starting point for many rock formats. 3.0.1: add more dial presence and clarity.

Azimuth_Rock: Derivative of Azimuth tuned for classic rock formats.

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CGSmooth: These presets can be used “as-is” if they fit your needs, or can be used as a starting template for your own customized version. Many adjustments have been made to take advantage of parameters that further improve limiter IMD suppression performance as well as bass options not available before version 3.01.

CGSmoothOpenW / CGSmooth_OpenW2 / CGSmooth_Warm: Warmer / broader bass tones are featured in this version of the "CG Smooth" preset. Features 12 dB / octave deep bass slope setting, and other associated bass processing settings. This preset is tuned for maximum loudness. For many markets, setting the overall clipper drive to -3 dB will be necessary.

Chameleon_Open1 / Chameleon_Open2: Nods to CG’s analog processors that “started it all”!

Classical1 / Classical2 / Classical3 / Classical4 / ClassicalPure1 / ClassicalPure2: Excellent starting points for Classical or Jazz formats. Pick the one you like best to start with.

CleanMuscle / CleanPower: Bass oomph vs. extra loudness. Take your pick!

Cosmic_DEQ: A good starting point to use if you don’t like the “smile” curve and want a more natural presentation with good, solid but not overdone bass and nice midrange warmth. “DEQ” means that it uses the Dynamic EQ feature rather than relying on

Cosmic_DEQ_NSE: The same as above with the stereo EFX enhancer disabled. Unlike earlier processors, you may find (like I did) that G-Force lets the stereo image come through clearly without additional enhancement!

Cosmic_Natural_NSE: This is a variation on the above with even more natural mids! NOTE: This preset has an issue where the limiter thresholds may be set too high for the Omnia.11’s clipper. If you are interested in this preset, please download Cosmic_Natural_NSE2 from our website.

EastWind: Named after a certain steam engine, EastWind is a preset that brings the sound signature of the “traditional” (orange) mode to G-Force.

Elevation: A cool sound without a target.

EventHorizon: A good starting point for pop music formats.

EventHorizon_CHR: This is a more aggressive version of the "EventHorizon" preset. This was created with the input of several big market CHR / Hot AC programmers. It has a more refined, sculpted bass sound.

GForce: GForce preset is all about the bass! 3.0.1: add more dial presence and clarity. Utilizes advanced clipper options.

GlideSlope1 / GlideSlope2 / GlideSlope_Open: One of the favorite presets from the G-Force beta test program. 1 is the original, 2 features controls that weren’t available during beta testing and Open is a more open sounding variant.

GoWithTheFlow: Similar to Elevation…another “sound without a target” that could make a great starting point.

HitCityRadio / Hot_AC / HotMix / HotMix_v2 / Mighty80s: These are G-Force versions of the popular “orange” mode presets.

ModernRock: Derivative of the CG Smooth base presets, tweaked around the format indicated in the preset name.

Nashville_1 / Nashville_2 / Nashville_3 / Nashville_Open / Nashville_Smooth: Great starting points for country music or contemporary Christian formats. Each variant has a different sound based on real field experience.

OrbitalElements: Another “sound without a target” that could make a great starting point. PhaseAngle / PhaseAngle_Brite: Another favorite from the beta testers.

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PowerMix / PowerMix2 / PowerRock: These all have a special "bass power" to them useful for building presets where you want a solid bottom end.

Proof: For making measurements. Be careful not to select this by accident!

ReferenceFlat / ReferenceFlat_NOAGC: Great starting points for building presets from scratch.

RockNRoll: The default preset made to have a similar sound signature to its namesake in the previous "orange" mode 11’s.

RockNRoll_LoIMD: Same as above but takes advantage of the new IM distortion reduction in G-Force.

Smooth: Generic "round" sounding preset.

SubOrbital: Another "sound without a target" that could make a great starting point.

Talk_Smooth1 / Talk_Smooth2 / Talk_Warm1 / Talk_Warm2 / Talk_Warm3 / cham_talk: Try one of these as a starting point for a primarily talk format.

ThrustVector: Another favorite of the beta testers that uses the clipper more for texture.

UrbanAC / UrbanAC_Bright / UrbanAC_Open / UrbanAC_Open2 / UrbanAC_Soft: Great starting points for Urban or Urban-leaning AC formats.

Vinyl / VinylSmooth / VinylSmooth2 / VinylSmooth_Brite: A generic starting point for those looking for a natural sounding preset. Modified from Cosmic_Natural_NSE.

WarmGrowl / WarmRound: Can be useful as starting points for Urban formats.

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