Chapter-3: Setting Up for Your System

Setup Mode

Touch the Setup icon button icon in the upper-left corner of the screen to enter Setup mode.

There are 3 setup/configuration screens in Setup mode: Network, Livewire and System. Also, the currently set network parameters, Livewire status information and running system software version can be seen inside the 3 icon buttons.

Network Setup

You should see the following Network setup screen. If not, touch the Network icon button to display it.

Network Configuration

The Network setup screen (available from the front panel of the unit only) is where you set up the Omnia.11’s network parameters for remote control and/or Livewire use, specify the NTP server to use for setting the realtime clock (manual setting is not available) and setup Reverse Remote Configuration (if required).

A static IP address will be required. DHCP is not supported. NOTE: A reboot will be required after changing any of the network parameters. The interface will warn you of this when you touch “Apply”.

IMPORTANT NOTE: The Omnia.11 requires that 2 IP addresses on the network be open even though only one of them is directly used. The IP address that is entered into the unit (and is used to connect to it with the remote and for Livewire if present) AND the IP address directly above that need to be open and available on the network.

For example: If you enter 192.168.0.125 as the IP Address, both it and 192.168.0.126 need to be open on the network.

Available parameters are:

IP (IP Address)

Accepts data in the form of four octets to describe the Ipv4 network address assigned to the Omnia.11’s network interface. The entries have the form of:

[ octet ] . [ octet ] . [ octet ] . [ octet ] which when entered may appear as a network address such as:

192.168.0.200

Subnet (Subnet Mask)

Accepts data in the form of four octets to describe the Ipv4 network subnet mask of the Omnia.11’s network interface. The entries have the form of:

[ octet ] . [ octet ] . [ octet ] . [ octet ] which when entered may appear as a network address such as:

255.255.255.0

Gateway

Accepts data in the form of four octets to describe the Ipv4 gateway address assigned to the Omnia.11’s network interface. The entries have the form of:

[ octet ] . [ octet ] . [ octet ] . [ octet ] which when entered may appear as a network address such as:

192.168.0.1

To change a setting, touch anywhere inside the white box for the setting you wish to change and the on-screen keyboard will pop-up:

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Use the on-screen keyboard to type in the desired addresses. You will need the number entry mode of the keyboard so touch the “0-9*/=” button to shift the keyboard to that mode.

Touch just to the right of the current entry at the top of the keyboard to place the cursor at the end of the entry.

From this position, the backspace key can be used to delete the desired number of characters or the entire entry. Note that there is only a backspace key and no Delete key.

Once you have the new entry completed as desired, touch the OK key. To cancel without making any changes, touch the CANCEL key.

NTP Configuration

The Omnia.11 real-time clock used for the new “Day Events” feature can be set via NTP only (configured in the Network setup menu) and cannot be set manually.

***Note that network setup can only be done from the front panel of the unit.

Enter the numeric IP address of the desired NTP server in the NTP Server box and choose your time zone from the NTP Time Zone dropdown list. Then touch “APPLY”.

Reverse Remote Configuration

Allows you to point the Omnia at a server and make an outbound SSH remote control and diagnostic connection. This can be used to tunnel through a firewall and allow support access. Contact Omnia Support for more information.

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Livewire© Setup

Touch the Livewire icon button to bring up the Livewire setup screen:

Here you can Enable Livewire and select Livewire input and output channels.

There are 2 stereo Livewire output channels and 2 stereo Livewire input channels available.

Entries are changed as in the Network setup screen by touching the white box to bring up the on-screen keyboard.

To enable or disable Livewire, touch the Enable button for the appropriate Livewire output. Livewire is disabled when both Enable buttons are white. The Enable button will turn green when Livewire is enabled for a channel.

Be sure to touch the Apply button after making your changes or they will not take effect.
For more information on Livewire, please consult the documentation that came with your Axia or other Livewire gear.

If you do not have a Livewire system and need to use the network interface for remote control, make sure that the 2 Livewire output channels are disabled. If the 2 Enable squares are green, touch them to make the squares white then touch "Apply" and the Livewire outputs will be disabled.

When finished, touch the ADJ icon button to return to the main metering/menu interface. Or another setup icon button if you wish to continue with setup.

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Livewire Sync Indicator

The Livewire Sync indicator can be found in the top-center of the Livewire Setup screen.

When both Livewire outputs are disabled (as they must be if the unit is on a non-Livewire network), the indicator will appear as in the picture below. Note that if your Omnia.11 is on a Livewire network but you will only be using the Livewire input and won’t be using the Livewire outputs, you should still enable at least one of the Livewire outputs so that LW Sync is achieved. Otherwise, audio dropouts can occur.

RDS Setup

Omnia.11 v3.0 adds static built-in RDS to its onboard stereo generator. By “static” we mean that dynamic metadata is not supported. You’ll need to enter your PS and RT messages in this front panel screen (only) and these messages will be transmitted continuously.

Your PI code (in Hex) can be automatically generated from your call letters entered into the “Call Sign” box.

Manually enter your desired static PS text (maximum 8 characters) in the “PS” box.

Manually enter your desired static RT text in the “RT” box.

Touch “RDS” for the European RDS standard or “RDBS” for the USA standard.

Enter your alternate frequency list (if any) in the following format: 98.7,100.2,106.4, etc.

To turn the internal RDS generator on, advance the “RDS Level” control above 0.0% (which is OFF). Typically RDS injection level should be 4.0%.

The rest of the switches on the right-hand portion of the screen set the features being transmitted on your station as seen on RDS capable radios. Turn on only the options featured on your station.

***Note that Updating the RDS data from the web page interface will cause the new data to be saved, but will not update the on-air transmission. Only pressing “Apply” on the front panel will update the on-air data.

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Security Setup

Introduction

Many Omnia 11 customers require the ability to restrict access to various controls and settings. Different users should have access to different sets of controls based on the password that they have been given. While this is deemed “multi-level” security, the various access modes are not strictly arranged in levels, where each higher level would simply add more privileges to the previous ones. Instead, each level allows access to some set of controls/settings, and the various sets may overlap in different ways.

Definition of Static Security Levels

There are six different access levels available from the User Level dropdown:

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Five of the six access levels can be enabled or disabled. The “Full Access” level always remains enabled. To disable levels, you must be logged into the “Full Access” level. Navigate to the Security panel of the Setup screen. Under “Change Front Panel Password,” select a level other than “Full Access”. “Enabled” and “Disabled” radio buttons will appear to the right of the selection. Simply press the desired state.

All passwords are user configurable from the front panel Setup / Security menu or from the Configuration page on the remote webpage interface.

The password for any level can be changed by providing the old password for that level and the new password twice.

Changing Passwords

To change the password, select the desired User Level. The default level is “Full Access” with default password: “omnia”. To change this, enter the existing password into the “Old Password” box, the new password in both the “New Password” boxes and then touch the “Change Password” button. Be sure to make note of your new password!

NOTE: This same password is also used for remote control access and can be changed from the remote webpage interface as well.

Auto Lock when ON will automatically lock the front panel when the screensaver activates. The password will be required at bootup and whenever exiting screensaver mode.

Lock when touched will lock the front panel immediately, requiring the password to regain access.

Change Level will bring up the unlock keyboard similarly to Lock but will not lock the unit immediately, allowing you to change the User Level and input the appropriate password for that level. Touch or click Cancel to cancel without making changes.

Preset Protection

Introduction

To protect a preset means to encrypt the file in which the preset is stored, so that only Omnia 11 units that have been "authorized" to run the preset can make any use of it. If a unit is not authorized, it cannot put the preset on air, and nobody using the unit can read or modify the preset. Encrypted preset files can be downloaded and distributed, but are unusable to anyone without the correct authorization. These preset authorizations can be created or installed on an Omnia 11. The Omnia.11 remote control webpage interface can also be used to author authorizations for use on other Omnia 11 units.

Protecting Presets

A preset is protected by associating it with a required authorization, which has a name and a secret passphrase. The name must consist of only letters, numbers, and the underscore (_), and can be up to 30 characters long. The passphrase can have any characters, and can be longer, if desired. Many presets can be associated with the same authorization, and all of them will be authorized (or de-authorized) on a unit together, as a group (sometimes this may be referred to as a preset authorization group, or protection group). The same authorization can be installed on many units by entering the same name and secret passphrase on all of the units (or it may be installed through the webpages — see below). All presets associated with the authorization will be authorized on all units. Note that both the name and the passphrase must be the same; entering a group with the same name but a different passphrase on another unit will not authorize the presets. Protected presets will always be associated with exactly one authorization; they cannot have more than one, and they must always have one in order to be protected.

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Using Preset Protection

To use the protect function on a preset, you first need to create an authorization on your unit.  To do this:

-- Go to the "Setup" menu, "Security" panel
-- Press the "Create Auth" button (under "Preset Authorizations")
-- Enter the name ("Group") and the passphrase ("Password"), and Press "OK"
-- It will take a second or two, and a success message should be displayed (press "OK").

Once this is done, you can return to the "ADJ" screen, processing panel, "Preset" tab.  A factory preset cannot be protected, so use "Save Current As" to create a user preset if one does not already exist.

To protect a preset:

-- Select the preset, putting it on-air.
-- Press the "Protect Current" button.
-- Enter the name of the authorization to associate with the preset.  The preset will be encrypted based on the passphrase that was entered when the authorization was created.  You do not need to enter the passphrase here.  The unit was automatically authorized to work with this preset (and any other presets associated with the same authorization) when the authorization was created, above.

The protected preset will now work just like any other preset on this unit.  It can be selected, viewed, modified, and saved; but only when logged into a level that has permission to do so.  For example, if a user is logged into the I/O Edit level, he will not be able to view or modify the preset.  He could select the preset, delete the preset from the unit, or copy the preset using "Save Current As".  If the preset is copied, it will retain its protected status and authorization requirement.

The protected preset can also be downloaded from the "File Transfer" web page.  The downloaded file will be encrypted.  If uploaded to another unit, it will be useless until the authorization is added to that unit as well.

To see what happens when a protected preset is not authorized, you can delete the authorization that was created above:

-- Go to the "Setup" Page, "Security" panel
-- Press the "Delete Auth" button (under "Preset Authorizations")
-- Enter the name ("Group") and the passphrase ("Password"), and Press "OK".  The passphrase must be entered here to ensure that nobody accidentally deletes an authorization that they cannot re-create.

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-- It will take a second or two, and a success message should be displayed (press "OK"). Now return to the "ADJ" page and try to select the preset. You should get an error: "This machine is not authorized to access this preset." There is no way to view, modify, or save an unauthorized preset. The preset can be deleted.

Managing Authorizations

We have already seen how authorizations can be created and deleted “by hand” locally on one Omnia 11 unit. In many cases, this may be all that is necessary. However, when managing a number of units or distributing presets remotely, other facilities are needed. These facilities are provided on the Omnia 11 webpages. Log into the Omnia 11 web server and navigate to the “Data Management” page, then click the “Preset Authorization” button to see them.

The front panel capabilities to create and delete authorizations are duplicated here, under the “Create New Authorizations” and “Delete Authorizations” headings. Next is a form, “Upload Authorization(s)”, that allows remotely-created authorizations to be uploaded to the unit. If you have a protected preset that requires an authorization from someone else, one way to obtain the authorization would be to ask the preset author for the authorization name and passphrase and enter it manually. This method would require the preset author to divulge the passphrase and require manual entry of the information. To avoid this, the preset author can create an authorization specific to a single Omnia 11 unit. You must first download the Hardware ID file of your unit, using the “Hardware ID” button below the upload form. This ID file is sent to the author, who can then send back an authorization. The upload form is then used to upload the authorization to the unit.

For cases where many Omnia 11 units must all be loaded with the same set of authorizations, an authorization key list can be used. If someone has provided you with such a file, it can be uploaded using the form under the “Install New Authorization Key List” heading. Doing this will erase all authorizations currently installed on the unit and replace them with the new list. It is intended for bulk management of units. Note also that the key list file is the “universal key” to the protected presets, allowing any Omnia 11 unit to access them. It should be guarded appropriately.

At the bottom of the page is an “Auth Authoring” button. This is useful to those who wish to create and distribute protected presets as well as the authorizations required to use them. Clicking on this button will bring you to a new page.

The first section of this page, “Create Foreign Authorization File”, allows you to create the files that are used in the “Upload Authorization(s)” form, as described above. To do this, you must have the Hardware ID file from the unit that you wish to authorize. Enter the authorization name and the correct passphrase, select the ID file, and press “Create”. A file will be generated for download to your computer. This file will only work on the Omnia 11 unit with the Hardware ID that was given, and it is not possible to obtain the passphrase from the contents of the file.

The next section allows authorization key lists to be created. While these key list files are encrypted, they do contain the secret passphrases necessary to authorize any Omnia 11 unit to use the presets protected by any authorization in the list. Thus, they should be guarded with similar care as the passphrases. To create a key list file, enter the authorization names on the left pane of the form, pressing enter between each one. Press tab or use the mouse to move to the right side of the form, and enter the corresponding passphrases, pressing enter between each one. Press “Create.” A file will be generated for download to your computer.

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System Setup

Touch the System icon button to bring up the System setup screen:

There are 4 controls located here: Overall Bypass, Back Light Timeout, Touch Screen Calibrate and Reboot .

Overall Bypass does just what it says, bypassing all processing sections in the Omnia sending the input directly to the output. Needless to say, this should only be used for system, factory and bench testing. Be careful not to inadvertently turn this on!

Back Light Timeout selects the timeout duration for the LCD backlight. Backlight timeout choices are 5, 10 or 15 minutes (of inactivity).

Touch Screen Calibration: To calibrate the touch screen, touch the Calibrate button and follow the on-screen instructions.

You will be asked to touch the center of a target in 9 screen positions. When done, click the Accept button in the lower left corner of the screen.

***NOTE: This calibration should only be done if needed. It is very important to touch the targets exactly in their centers using a non-scratching stylus.

Reboot will perform a soft reboot of the system after you confirm "OK" in the box that pops up (you can also "Cancel"). Please note that touching "OK" will take you off the air for about one minute while the Omnia.11 reboots, so be sure you are prepared to do this or have a backup processor online.

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Input/Output Configuration and Metering

It is of the utmost importance that the Omnia.11 be properly configured for the system that it will be used in. This will ensure optimum performance of the entire system, maximum quality and loudness over the air.\

Input Configuration

All Input configuration settings can be found in the Basic tab on the Input screen. If not there already, touch the ADJ icon button (if you are still in the Setup mode) and then the Input icon button to display the basic Input screen.

This is where you choose your input source, failover source, set input levels, input mode and overall polarity.

If you have not done so already, the instructions for properly setting the input levels can be found in Chapter 2 on Page 11. Input levels can be adjusted separately for Analog, AES/EBU and Livewire inputs.

The Input Mode drop-down control allows you to select from Stereo (the default setting), Mono L (routes the left channel input signal to both the left and right processing channels), Mono R (same as Mono L but uses the right channel input signal), Mono L+R (sums the left and right input channels to mono and applies the summed signal to both channels) and Swap (Stereo but with the left and right channels reversed)

The Input Polarity drop-down control allows you to change the polarity of the input audio in several ways. Both is typically selected if it sounds "better" to an announcer (monitoring themselves in headphones using the DJ output of the processing) than None. One of the two settings should. The goal is to make the relative phase of the headphone feed more in phase with the announcer’s hearing of his or her own bone conduction. Once set, this setting should remain the same for all announcers using the same headphone feed. Using the L setting, only the left channel phase is inverted and using the R setting, only the right channel phase is inverted. NOTE: These settings are present as a convenience to correct 180-degree stereo phase errors in the input audio to the processor or in another device after the processor.

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You can choose from among 4 possible stereo input sources for both the primary and secondary sources: Analog, AES/EBU Digital, Livewire 1 and Livewire 2.

The Primary input source is set using the Input Source drop-down control.

There are 3 controls for the Input Failover feature, Failover Source, Failover Time and Comparative Fail.

Input Menu (Basic Tab)

The primary input source is set with the “Input Source” control. This is your main input source.

“Failover Source” selects which audio input: Analog, AES/EBU, Livewire 1 or Livewire 2 will serve as the secondary audio input. Note that the audio input that is selected under Input Source (above) will always be the Primary audio input. A source selected under Failover Source will always be the secondary source.

“Failover Time” is the amount of time that will elapse after the failure of audio on the primary input source before the unit makes the decision to switch to the secondary (failover) input source.

For instance, if Failover Time is set for 5 seconds and the primary audio source fails, 5 seconds later the unit will switch to the secondary audio input if that input is active. If, at any time, audio is restored on the primary input (for 1 second, continuously), the unit will switch back to the primary audio input. It will remain with the primary input unless another failure is detected.

The “Comparative Fail” control in the Basic tab of the Input menu is normally set to "ON", but, in some extremely rare cases, this has caused a failover to occur when it should not. In order for this "spurious failover" to occur several things must be true:

   
1. The valid program audio (which is on the primary input) must have one channel silent (or very quiet) for more than the failover time. This occurs in some songs by The Who (and probably The Beatles).
   
2. The secondary input must not have the same program as the primary input. It must have some program that has audio on both channels.

So you can see it is a rare case where this will happen, therefore the default is "ON", where it will catch more failure conditions.

The comparative failover function looks at both the primary and secondary inputs simultaneously. If the secondary input looks "better" than the primary (it has both channels while the primary has only one, or it is a lot louder), then it switches to the secondary. The switch when “ON” takes place after the condition of the secondary being better has persisted for more than the failover time.

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The “OFF” mode failover mechanism is "absolute failover", where it is just looking at the absolute level of the primary input. This mechanism will not react to loss of just one channel. There may be cases where single-channel audio for a while is valid, but if the secondary input has both channels driven, it is more likely the valid signal, and the primary is in error.

Recommendation: If you are feeding the same program to both the primary and secondary inputs, leave this set to "ON". If there is a different program on the secondary input, turn it "OFF". (It only makes sense to compare the two inputs if they are supposed to have the same thing to begin with).

Patch Point (Input Menu Advanced Tab)

As of software version 3.0, the Patch Point is now optimally located for use with watermark encoders and Voltair.

There are 2 dropdown controls, two or three switches and one level control located here:

The “Patch Return Source” control sets the input the return feed to the clipper comes from. Possible choices are the Analog XLR input jacks, the AES/EBU input, Livewire 1 or Livewire 2.

The “Patch Send” control sets which output the send signal from the output of the 6-Band Limiter section routes to. You can select Analog XLR, AES/EBU, Livewire 1 or Livewire 2.

The “Patch Mode” control activates (On) or bypasses (Off) the patch point. Unless you are actually using the patch point, be sure this control remains set to Off or the audio to all outputs could be silenced.

The “Patch Tone” switch turns on a tone to assist in setting unity gain through the patch point. The tone level is fixed at -12dBFS.

“Patch Out Level” allows you to attenuate the patch output level if needed. If your preset ends up sending an average level hotter than -12, use this to compensate. It is imperative that the patch point be at unity gain. If the return is too hot, this will cause distortion since the return signal goes directly to the clipper.

Note that if you turn down the Patch Out Level, it brings up the input level automatically by same amount.

Voltair Mode: (G-Force Only)

This is a special mode that optimizes the audio through the link for use with a watermark encoder. When using the insertion point for watermark encoders, it is desirable to use this feature regardless of whether or not a Voltair is actually being used. Benefits are usually gained either way, though it is most effective when a Voltair is in use.

Tip: If your Omnia.11 is located at the studio, the patch point would be a great place to insert your profanity delay. This will allow you to use the Omnia.11’s DJ processor to feed the announcer’s headphones since it gets its input from a point before the patch point and contains its own low-delay limiters.

It is also the best place to put your ratings encoder system. Please see the addendum starting on Page for full details and configuration information .

Input Metering

There are 2 horizontal stereo input meters below the Dorrough Loudness Monitor in the Summary tab and 6 vertical meters in the Detail tab: (Note: the Analysis tab is not yet implemented so is grayed-out )

Primary Input shows the real-time peak input level of the input selected with the Input Source control in the menu area.

Secondary Input will show the real-time peak input level of the input selected as the Failover Source.

Please see the Proper Setting of Input Levels section on Page 11 for full details on the setting of the input levels.

The Dorrough Loudness Monitor shows the average loudness and peak level of the audio at the same time.

Input Metering Screen (Summary Tab)

When you are in the Input menu, the Dorrough meter automatically switches to monitor the Input L+R audio. It defaults to monitoring the FM channel’s Output when you are in any of the processing menus or the Output menu.

Since the output monitor point is after the FM clipper and pre-emphasis, you can also choose to add de-emphasis using the Dorrough Meter “De-emphasis” control which is located in the Advanced tab of the Output menu.

In the Detail tab are vertical level meters for both the Primary and Secondary inputs as well as meters for the Patch Point.

Input Metering Screen (Detail Tab)

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Output Configuration

Output metering can be found in both the Summary and Detail tabs in the Metering area. (See Output Metering on Page 34 for details)

There are 7 subgroup buttons on the left side of the Menu area in the Basic tab and there are 2 controls in the Advanced tab.

5 of the subgroup buttons group the output controls that are displayed by output type and the bottom 2 access special options for the FM and HD outputs.

To get started, touch the Output icon button to display the Output screen and then touch the Basic tab in the Menu area if it is not already selected. The controls will be described by group below.

Analog

There are 4 controls in the Analog Output Level group:

The Analog Output Level Master controls the output level of both the left & right channel analog XLR jacks simultaneously.

Right Trim controls the level of the right channel only over a limited + or − 3dB range to correct left/right balance issues in the following equipment. This is normally set to “0.0 dB”.

De-Emphasis controls whether the analog XLR outputs (when set to FM) are de-emphasized (ON) or not (OFF).

Output Selection selects the processing channel assigned to the analog output XLR jacks: FM, HD, DJ or PP.

AES/EBU

There are 4 similar controls in each of the AES Output 1 Level and AES Output 2 Level groups:

Master controls the AES/EBU digital output level of both the left & right channels simultaneously. Note: The Master control in the “AES Output 1 Level” group controls the output from the AES out 1 XLR jack only. Similarly, the Master control in the “AES Output 2 Level” group controls the output from the AES out 2 XLR jack only.

Right Trim controls the level of the right channel only over a limited + or − 3dB range to correct left/right balance issues in the following equipment. This is normally set to “0.0 dB”.

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De-Emphasis controls whether the appropriate AES OUT XLR output (when set to FM) is de-emphasized (ON) or not (OFF).

Output Selection selects the processing channel assigned to that output: FM, HD, DJ or PP.

Sample Rate: These two drop-down controls select the sample rate for each of the 2 AES/EBU XLR outputs. Possible settings for AES 1 are 48k (internal 48 kHz clock), Input (syncs to the sample rate on the AES/EBU input jack) or External (syncs to the sample rate of an AES/EBU signal applied to the External Sync XLR input jack on the rear panel). Possible settings for AES 2 are 44.1k (internal 44.1 kHz clock), 48k (internal 48 kHz clock) or External (syncs to the sample rate of an AES/EBU signal applied to the External Sync XLR input jack on the rear panel). Sync to Input is not available for AES 2. If you have AES 1 synced to Input and you also need AES 2 synced to the same source, you will need to bridge the AES 1 output into the External Sync input and set AES 2 Sample Rate to External.

Livewire

There are 4 similar controls each in the Livewire 1 and Livewire 2 groups:

Master controls the Livewire digital output level of both the left & right channels simultaneously. Note: The Master control in the “Livewire 1 Level” group controls the output level sent to the Livewire 1 channel configured in the Livewire Setup screen. Similarly, the Master control in the “Livewire 2 Level” group controls the output level sent to the Livewire 2 channel configured in the Livewire Setup screen.

Right Trim controls the level of the right channel only over a limited + or − 3dB range to correct left/right balance issues in the following equipment. This is normally set to “0.0 dB”.

Livewire Output Submenu (Basic Tab)

De-Emphasis controls whether the appropriate Livewire output (when set to FM) is de-emphasized (ON) or not (OFF).

Output Selection selects the processing channel assigned to that output: FM, HD, DJ or PP (Patch Point – this will be the output of the 5-Band AGC section).

Note: When using the Patch Point (PP), set the appropriate Livewire Master Level for -12 dBFS (the Livewire output you've assigned for patch SEND). All other levels on the Omnia.11 stay the way you had them before the patch point addition.

Headphone

There is but a single control available here: Output Selection selects the processing channel assigned to the front panel headphone jack: FM, HD, DJ or PP.

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Composite

The stereo MPX generator output levels from both of the analog composite output BNC jacks can be adjusted separately using the Output 1 and Output 2 variable controls in the Composite Level group over a range of 0 to 10 volts in precise 0.05v increments. Note that when deployed, the Omnia Direct AES composite digital output level is set by the Composite #1 output level control. This is in parallel with the BNC analog Composite #1 output. If an additional (analog backup) composite is required, use the composite #2 BNC output & control.

Composite Output Submenu (Basic Tab)

Pilot Phase This parameter sets the phase relationship between the 19 kHz pilot and the 38 kHz suppressed carrier. The system default is 0.0 degrees. The performance of the DSP based digital stereo generator is theoretically perfect, however should the phase need adjustment in order to offset time domain errors in the overall transmission system, the pilot phase can be adjusted ±32º, in 1º increments. We recommend that a calibrated modulation monitor be used for this adjustment.

Stereo Separation The stereo sub-channel (L-R) level of the Omnia.11’s stereo generator can be reduced by 3 dB or 6 dB to suppress multipath that can occur in certain terrain and within certain transmission systems when heavy processing is used. When a setting of -3 dB or -6 dB is used, the amount of transmitted L-R and thus the perceived stereo effect is also reduced. However in difficult RF signal coverage areas, the amount of perceived multipath is reduced as well, resulting in the perception of a much cleaner overall signal with better penetration and coverage. The Omnia.11 defaults to a setting of Stereo, using the full L-R signal for maximum separation. We suggest that you leave it in that mode, but the other settings are available for those who wish to experiment, including a setting of full Mono.

Sideband Mode The normal setting for the stereo generator is the DSB setting which provides the full double-sideband, suppressed carrier L-R signal.

The special SSB setting provides a single-sideband, suppressed carrier L-R signal that can help reduce multipath and provide increased protection to the baseband spectrum. Please check with your local regulatory agency before using this mode since it has not been standardized as of this writing.

For more information please see Frank Foti’s white paper, available on our website at:

https://www.telosalliance.com/images/Omnia%20Products/White%20Papers/MPX-SSB-White-Paper.pdf

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FM Options

FM Options Submenu (Basic Tab)

The pre-emphasized signal at the Left/Right Analog XLR, AES/EBU digital and Livewire outputs can be restored to flat, if needed (such as for monitoring), by the De-Emphasis control in each of the respective output groups.

There are three choices for pre-emphasis in the drop-down control: Off, 50 µs or 75 µs. Be sure to select the pre-emphasis that is correct for your country.
Note: Normally, the “Off” selection under the Pre-emphasis options would not be used in conventional FM transmission applications, but is provided in instances where processing of a flat signal is desired. One example would be when preprocessing prior to a satellite uplink in distributed radio networks.

TU BS-412 Power Limiter

In certain parts of the world, the average multiplex signal power must be controlled to reduce adjacent channel interference. The currently enforced standard falls under the ITU BS-412 regulations. The Omnia.11 FM has a very effective Multiplex Power Limiter that may be enabled to comply with these regulations.

Loudness Loss Warning!
If your country's regulatory agency does not require the use of the ITU BS-412 Multiplex Power Limiter, make certain that the BS-412 “Engage” control is set to “Off”, or severe loss of loudness will result! For example, when the ITU BS-412 Power Limiter is switched on and set at 0.0dB, there is approximately a FIVE dB loudness loss over the limiter being switched off!

BS-412 Engage: This control enables (On) or disables (Off) the BS-412 Power Limiter. The default setting is Off.

Threshold: When On above, this control sets the average multiplex power from -3.0dB up to 9.0dB (in 0.25dB steps) with respect to the original 0.0dB ITU BS-412 standard.

There is also a BS-412 Drive control located in the FM menu that is activated when this feature is engaged. This adjusts the depth of limiting.

Diversity Delay

The 3 buttons below the numerical diversity delay time display are used to set the precise diversity delay time (typically used for HD Radio installations) that will be applied to any output that is set to the FM channel.

To adjust the delay time, start by touching the sec button and use the jog wheel (or mouse wheel in the remote) to set the coarse delay time in seconds. Similarly, you can touch the msec and usec buttons to finely adjust the delay time in milliseconds and microseconds.

To activate the diversity delay, turn the “Diversity Delay” switch ON.

SCA IN LVL (Control on Rear Panel)

The SCA input level control is an analog trimpot and does not appear in the menu. This trimpot is located just above the SCA Input BNC jack on the rear panel. A small flat-blade screwdriver will be needed to adjust it.

Signals input to the SCA jack are simply mixed into both composite outputs through the trimpot.

The gain range is from 0.034 (-29dB) to 1.35 (+2.6dB). At the lowest gain setting, you can feed it a 10V SCA signal and get 8.6% injection on a 3.6V composite output setting. At the highest gain setting, you can feed it a 0.25V SCA signal and get 8.6% injection on a 3.6V composite output setting. (The composite + 9% pilot should be 3.6 V p-p in these cases. The SCA adds to this, making the total higher and the SCA 8.6% of the total).

HD Options

There’s a dropdown control and a switch here.

HD Options Submenu (Basic Tab)

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Output Menu (Advanced Tab)

There’s a switch and a dropdown control here:

The Dorrough Meter De-Emphasis switch when ON, sends de-emphasized audio to the Dorrough Loudness Monitor meter. When off, the pre-emphasized audio is sent to the meter.

The FM Test Tone Mode dropdown turns on a 400Hz test tone which is fed to the FM output only. You can choose from “L Only”, “R Only”, “L+R” or “L-R”. NOTE: When selecting any of these options except “Off” the tone will replace the program audio on any FM output instantly!

Output Metering

Summary Tab

There are 2 stereo output meters below the Dorrough Loudness Monitor in the Summary metering tab:

The FM OUTPUT meter shows the real-time peak output level of the “FM” channel before the output level controls referenced to the maximum output level of 0 dBFS. The HD OUTPUT meter similarly shows the relative peak output of the HD channel. Normally, these meters will be peaking all the way up near 0dBFS when the channel is active. The FM and HD OUTPUT meters can be used as a quick way to check that the channels are active internally.

The Dorrough Loudness Monitor shows the average loudness and peak level of the audio at the same time.

When you are in the Input menu, the Dorrough meter automatically switches to monitor the Input L+R audio. It defaults to monitoring the FM channel’s Output when you are in any of the processing menus or the Output menu.

Since the output monitor point is after the FM clipper and pre-emphasis, you can also choose to add de-emphasis using the Dorrough Meter “De-emphasis” control which is located in the Advanced tab of the Output menu.

Detail Tab

There are 5 stereo output meters and a composite meter in the Detail tab:

The 5 stereo output meters show the real-time peak level of the actual outputs after the output level controls in the Menu screen.

Analog Shows the actual peak output level of the Left and Right analog XLR output jacks referenced to a “0” peak level of +22 dBu.

AES/EBU

1 Shows the actual peak output level of the AES 1 XLR output jack referenced to 0 dBFS.

2 Shows the actual peak output level of the AES 2 XLR output jack referenced to 0 dBFS.

Output Metering Screen (Detail Tab)

Livewire

1 Shows the actual peak output level of the Livewire 1 output referenced to 0 dBFS.

2 Shows the actual peak output level of the Livewire 2 output referenced to 0 dBFS.

Composite shows the relative peak output of the composite MPX signal from the built-in stereo generator before the composite output level controls relative to 100% modulation. Normally, this meter will be peaking all the way up near 100%. This can be used as a quick way to check that the stereo generator output channel is active internally.

Chapter-4: Introduction to Omnia.11 Processing

(Orange Mode – See Appendix D for G-Force)

What you have before you is the result of years of intensive research and re-thinking by Team Omnia of what an FM processor should and should NOT be doing to your precious program audio!

Things have changed quite a bit in the years since the previous generation of FM processors was designed.

Newer music is often so pre-processed already that the last thing it needs is more processing! Now it’s possible for the processor to be "smart" enough to know whether a program element is pre-processed or not and act accordingly. The Omnia.11 is able to do as little further "damage" as possible to already processed content (such as a song from a modern hyper-compressed CD) while acting more aggressively on more dynamic, less pre-processed material.

New technologies have given us ways to design the processor algorithms much more interactively, allowing us to instantly hear the results of changes. This has led to previously unheard of ways to minimize distortion, particularly IM (Intermodulation) distortion, from ALL sections of the processing.

Omnia.11’s new algorithms, especially the G-Force algorithms, allow the processor to output a much more natural and less-fatiguing sound, WITHOUT losing loudness! And WHILE maintaining your consistent sound "signature". These improvements affect ANY format…as the old saying goes: "From Bach to Rock" and everything in between…and beyond!

The Omnia.11 contains processing for both FM analog stereo transmission and coded audio broadcasts of the same program material, such as the HD-1 digital channel or Internet simulcasts.

Please make sure that you have gone through Chapters 1 through 3 and that the Omnia.11 is installed in the rack and connected to a source of primary program audio before continuing with the rest of this chapter.

The Omnia.11 employs a conventional-looking processing layout (topology) that at first glance appears very similar to our own Omnia-6. But that is where the similarity ends.

Each processing section in the Omnia.11 is much "smarter" than any previous processor so some change in conventional thinking about the adjustment of the processing parameters will be needed on your part if you want to delve in deeply while creating your "signature sound".

But it is also entirely possible that once the Omnia.11 is set up properly for your system and the audio levels are properly adjusted, you will find one of our included processing presets "hits the spot" and no further adjustment will be needed!

So the first thing to do, as alluded to above, is to make sure that all of the Input and Output settings are correct for your system and the levels for your selected inputs and outputs are adjusted properly.

Then it will be time to select a preset to start (or stay) with.

We will go over the basics in this chapter and then Chapter 5 will cover every available control and setting, if needed.

NOTE: You may initially feel that your air sound with Omnia.11 is somewhat "less bright" than with your older processor. Given that the Omnia.11 is set up correctly for your system, this is generally because distortion generated in the old processor was actually creating a "false brightness" to the sound. With Omnia.11 you are actually hearing all of the natural treble that is in the program material on the air, quite possibly for the first time!

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Where to Begin?

The following is intended for the “traditional” (orange) style processing only. For information about the G-Force (blue) style, please see Appendix D.

We strongly suggest removing or bypassing any other audio processors in the air chain ahead of Omnia.11.

If you are using a front-end AGC such as the Compellor® ahead of your STL, use it only for overload protection and not with any AGC activity. These additional AGC devices can conflict with or reduce the effectiveness of the Omnia.11’s new highly effective Wideband AGC.

Once your Omnia.11 is properly installed and passing audio at the proper levels, it is time to select a preset!

Presets

Omnia.11 is equipped with a selection of factory presets that can be used to instantly configure the processing for common applications. The currently loaded preset is displayed in the Status Bar, just above the Limiters icon button.

Status Bar

Some of the presets have format-based names. Do not take these names too literally! It is entirely possible that you may like a preset named “Country_Open” (or like it enough to use it as a starting point) for your Smooth Jazz station.

Note: The presets for the “traditional” (orange) style and G-Force (blue) style are not compatible with one another. Each style has their own set of presets even though the names may be the same or similar. Custom presets from previous Omnia.11 1.x versions will only be compatible with the “traditional” (orange) style and may be imported if desired. These presets will NOT import or run on the G-Force style.

The best way to begin is to actually try all of the factory presets, accessible from the Preset tab in the Menu Area of any ADJ mode screen (except Input or Output). Adjust the controls in the Quick Setup tab for each one as described below. After making these basic adjustments for each preset tried, you should be able to settle on one preset and save it with your changes as a user preset. Once saved, you can simply use it as-is or use it as a starting point for further customization (if needed).

10 user presets are shown per screen so use the PAGE UP and PAGE DOWN buttons to see more available presets. They are arranged in alphabetical order in 2 groups. The factory presets are listed first followed by user presets.

Important Note: When changing between the various presets, allow some time for the newly loaded preset to “settle-in” since there may be some large parameter changes happening depending on the previously selected preset.

You can find a list of all the factory presets, with a short description for each, starting on Page 41.

To instantly put a preset on the air, unlock the preset list by touching the “padlock” icon in the upper-left corner of the list and then simply touch the desired preset’s name in the Preset list.

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Unlocked Preset Tab

To see more presets, touch the PAGE UP or PAGE DOWN buttons. The presets are arranged alphabetically in 2 groups. The first group contains the factory presets. The second group contains your user presets and is located below the factory presets.

Start by trying the various factory presets while listening to your typical program material and taking note of their differences. Then try to decide on one to start with and listen to it on as many different types of radios as you can.

Quick Setup Tab

It is important to adjust a few basic controls for each preset that you try. This will adapt them to your ears and your market. These controls are now conveniently grouped together in the Quick Setup tab (shown below). The metering pane automatically switches to show the clipper g/r metering when Quick Setup is selected.

Clipper Drive and Auto Sense

The first important control to adjust is the Clipper Drive. This appears both here in the Quick Setup tab and in the Basic tab of the FM menu.

Since every air chain and market is different, this control should always be adjusted to as low a setting as possible for the level of loudness needed. You can think of this control as adjusting the primary "loudness vs. distortion" tradeoff.

We suggest that each time you try a new factory preset, you adjust the Clip Drive as follows: Start by turning the Auto Sense control all the way down to 0.0. Adjust the Clipper Drive control down in 0.5dB steps until the loudness just falls off too much and then bring it up a bit from there. Finally, turn up the Auto Sense until about 0.5 to 1.0 dB of activity can be seen on the Auto Sense meter.

That is the correct setting for you for the currently selected preset. On some presets, you may need to turn it up instead of down. This is OK too. Adjust it up in the same 0.5db steps until you achieve the loudness required or the sound becomes too distorted, whichever comes first. If the distortion comes first, you probably need to start with a more aggressive preset.

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NOTE: If you are turning up the Clip Drive to increase loudness and you reach a point where the loudness and distortion do not seem to be increasing as you would expect, you have likely run into the Auto Sense ceiling. Try turning down the Auto Sense control a little. This will allow more clipping to take place. For more information about clipper Auto Sense, please see Page 60.

Bass Growl

This is the next control that is important to adjust with each preset that you try. This control is located in both the Quick Setup tab and in the Advanced tab of the Wide Band / ENH menu.

Bass Growl tunes a number of behind-the-scenes parameters at once to tune the Omnia.11 for the desired amount of bass. Higher settings cause the bass enhancers in the Basic tab of the ENH menu to be more audible more of the time. So after making an adjustment to Bass Growl, go back and revisit your Deep/Phat/Warm bass enhancer settings if needed. Note that the Deep Bass and Warm Bass controls can also be found in the Quick Setup tab. The Phat Bass control is only found in the ENH / Basic tab. For more information about Phat Bass, please see Page 51.

The Enhancer Mode switch

Brightness

The last 2 basic controls that are important to adjust for each preset tried are the Presence and Treble brightness controls.

A setting of “0.0” will add no additional brightness to the selected preset. Turn each up to taste but be careful not to use more than needed since excessive limiter activity or clipping could occur with very high settings. A little goes a long way here!

Saving User Presets

Once you have made changes to any parameter, such as the controls in the Quick Setup tab discussed above, it is a good idea to save those changes so they will not be lost. The factory presets cannot be over-written so a new user preset must be created. This is done from the Preset tab using the Save Current As button.

When you touch Save Current As the on-screen keyboard will pop-up. Use the on-screen keyboard to type a name for your new preset and then touch “OK”. While up to 20 characters can be shown for each preset in the preset list window, try to keep the preset names short and descriptive if possible.

If you should want to delete a user preset (factory presets cannot be deleted), touch the Delete button and a new window opens containing a list of all of the previously saved user presets. 10 user presets are shown per screen so use the PAGE UP and PAGE DOWN buttons if needed to see more user presets.

When you make new changes to an existing user preset, touch the Save Current button to save the new changes.

Help Text

The new context-sensitive help text feature will pop up a box with information about the currently selected control when that control is highlighted and then the “?” button in the lower-right hand corner of the menu screen is touched (or clicked in the remote).

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Preset Descriptions (“traditional” orange mode)

Presets Designed for 75us Pre-Emphasis (by Cornelius Gould, Frank Foti, Mark Manolio or Ted Alexander unless marked otherwise)

AC

Generic starting point Like a blank canvas without much enhancement. Good to use to build a sound from “scratch”.

AC_V2

Same as above but optimized for the latest software features.

AudioChameleon

In the Audio Chameleon presets, the 5-Band AGC has more of an effect on the overall sound. Rather than just a slow dynamic EQ, they work more as smart compressors so are contributing more to the density of the sound.

BigAC

A re-creation of the preset of the same name that was in the original Omnia.11 beta software.

CGSmooth

A very good alternative starting point for just about anything except over-the-top density. This preserves more of the natural dynamics in the program material than say RockNRoll but not as much as Dynamics.

CGWarm

Warmer version of the above.

Classical

This is the “purist” classical preset. There is no multi-band AGC so the WideBand AGC is fed directly to the limiters.

Classical_V2

Same as above but optimized for the latest software features.

Classical_5B_AGC

This adds the 5-Band AGC to the above for some dynamic EQ.

Classical_5B_AGC_2

As above but optimized for the latest software features.

Classical_5B_AGC_Enh

This one adds more of the “movie soundtrack” like sound where the 5-Band AGC and bass enhancers are used to provide a more processed sound. This will be louder than the ones above but not as natural sounding.

Compression_Brite

Provides that “compressed” or “squashed” sound. If you like to “hear the processing” try starting with this!

Cosmic

A high TSL preset, smooth and bright but with plenty of mids. Another one to try that can handle pretty much anything you can throw at it.

Cosmic_V2

Same as above but optimized for the latest software features.

Cosmic_O6

Tuned to emulate the Cosmic preset from the Omnia-6 EXi

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Country_Brite

Please note that these Country presets are not just for country music! They have a nice balance of highs and lows while letting up-front vocals through clearly. These could also be a good starting point for scratch-built presets. This one is tuned with more highs for additional sparkle and a bit more of a processed sound.

Country Flat

Similar in texture to Country_Brite but with less enhancement.

Country Open

Allows more of the natural dynamics through.

Country_V2

Good starting point for a country format optimized for the latest software features in v1.4.

Country_V3

Good starting point for a country format optimized for the latest software features in v1.5.

Country_Warm

Similar in texture to Country_Flat but with a warmer texture.

Density

A good place to start if you want to make your own dense-sounding preset.

Dynamics

A high TSL preset that really allows the natural dynamics of the program material to come through. It can be very loud when the program material is very loud. It will also be quieter during softer passages, making for greater impact during the transitions. Try this for Jazz or even if you want to be aggressive with classical. Don't discount it for other formats either. Try this if you can, it takes advantage of many of the Omnia.11's unique qualities.

Dynamics_V2

As above but optimized for the previous software v1.2

Dynamics_V3

As above but optimized for the latest software features in v1.4.

Dynamics_V4

As above but optimized for the latest software features in v1.5.

EastWind

An aggressive general preset with lots of 6-Band limiter action.

Eclectic

A jack-of-all-trades preset. Try it for any format. You may like it!

HitCityRadio

Tuned for the CHR format with lots of deep low-end and high-energy processing.

HitCityRadio_V2

As above but optimized for the latest software features in v1.4.

HitCityRadio_V3

As above but optimized for the latest software features in v1.5.

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HOT_AC

HOT_AC_V2 (optimized for v1.4 and later)

HOT_CHR

HOT_Country

HOT_Thunder

These are approximate emulations of the original Omnia.FM.HOT presets.

HotAC

A good starting point for Hot Adult Contemporary formats.

Hot_AC_Punch

A punchier version of the above with more apparent dynamics.

HotMix

Excellent starting point for Rock and Hot AC formats where competitive loudness and brightness are needed.

HotMix_Warm

A warmer version of the above.

LegatoCafe

High TSL preset designed for less listener fatigue. It won’t burn a hole in the dial but won’t disappear either.

Mars

One of the presets to start with if you like a lot of bass.

Mighty80’s

That retro highly-compressed bright 80’s sound…but better!

Mighty80’s_V2

As above but optimized for the latest software features in v1.4.

Nigel Tufnel

This is the “over-the-top” preset. Nigel Tufnel of Spinal Tap would be proud, but since this is the Omia.11, this one goes to 12!

Nova

This one doesn’t have any one particular outstanding direction in sound, but draws from many of the presets qualities so is a “middle-ground” preset with a nice, well-behaved sound.

O11 CHR

Another preset tuned for the CHR format and its variants. This one has more multi-band AGC activity than HitCityRadio.

O11_CHR_V2

Same as above but optimized for the latest software features.

O6 CHR

Approximates the sound of the “CHR” preset in the Omnia-6.

Open_Punchy

Good, general starting preset with good punch and dynamic feel.

PowerCountry

A more aggressive preset for country vs. the original country presets.

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PowerHits

A HotAC/CHR-tuned preset that sits between HitCityRadio and PowerMix.

PowerMix

PowerMix is tuned for HotAC formats and their varants. As aggressive, but less bright than the CHR-tuned presets.

PowerMix_V2

Same as above but optimized for the latest software features.

Proof

Factory Test Preset - Don’t select this unless you are running tests on your signal or on the bench! This bypasses most of the processing so there is no modulation control at all!

Revibe (from Mark Allen)

An aggressive loud & bright preset for users in markets with a considerable loudness war.  Has bass punch to cut through.

RockNRoll

It is an updated version of the RockNRoll preset from the long line of previous Omnias. It has a moderate smile curve and is a great starting point for Rock formats.

Rock_Warm

A warmer version of the above.

RockNRoll_Bold_A

A version of RockNRoll with fuller low end.

RockNRoll_V2

The default preset. Same as RockNRoll above but optimized for software v1.4. A great place to start!

RockNRoll_V3

The default preset. Same as RockNRoll above but optimized for software v1.5. A great place to start!

SOLID

Another preset recovered from the original Omnia.11 beta software. Good, punchy deep bass!

SOLID BRITE

The “SOLID” presets have a classic compressor sound. This one is tipped-up in brightness. Gives you that “wall of sound”.

SOLID WARM

As above but more bass and mids for a more natural frequency balance.

Talk_Hot

A more aggressive FM talk preset.

Talk Medium

Nice starting point for FM talk programming.

Talk_NEWS

Full-response talk preset for general FM-Only talk formats.

Talk_NEWS_V2

The as above but with a 75Hz highpass filter to help match your AM talker.

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Talk Smooth

Not trying to be in-your-face at all. For a more natural speech presentation.

Talk_SPORTS

A "medium density" setting that slightly rolls off the highest audio frequencies to reduce sibilance and adds a bit of "bottom end" to hosts that may have less deep voices and need a little help.

Talk_SPORTS_BOLD

Similar in tonal balance to SPORTSTALK, but with significant added density to tighten up the local personality and bring out the phone calls. Also can be a starting point for controlling wide dynamic range play by play.

TedOldies

A preset for rocknroll oldies by our Ted Alexander.

TheHitMachine

Another CHR preset. Like HitCityRadio but with more aggressive multi-band AGC activity. Has a different bass texture than O11_CHR.

TheMatt

Named in honor of the late Matt Connor who helped Frank Foti put the original Omnia.FM on the processing map back in the mid-90’s

TheMatt_V2

As above but optimized for the latest software versions.

ThePooh

Has a little more warmth to it than TheMatt above. This is in honor of Jim Somich who was Frank Foti’s mentor in radio and audio processing.

TheWarmPreset

This is where to start if you want a really warm, rich, round sound with smooth vocals.

TripleA

Another good general starting preset. Kind of like Cosmic but with less brightness and punchier mids.

UrbanWarm

Lots of warmth and smoothness.

VinylSmooth

Think back to that old turntable. Not too bright with strong mids and moderate bass.

VinylSmoothV2

As above but optimized for the latest software versions.

WarmthDense

A denser, more processed sounding version of TheWarmPreset.

WarmthOpen

A more open version of TheWarmPreset. More natural dynamics come through.

Zeus_Thunder

This is the “over-the-top” preset for bass freaks!

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Presets Designed for 50us Pre-Emphasis (by Goran Thomas, David Perreau and Cornelius Gould)

50_AC

Starting preset for Adult Contemporary formats that you can’t go wrong with for many other formats. Can also be used as a general purpose preset if your programming is unformatted/varied. Tailored for clean, but ‘radio’ sound, with consistent bass impact and open high end. Appropriate for long time spent listening and critical audience.

50_AC_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_AC2

A version of the AC preset with a bit more dynamic depth and a bit fuller sound of the bass region. For stations looking for extremely clean sound with a deep and powerful low end.

50_AC2_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_AC3

This is the most aggressive the AC presets for competitive markets. In-your-face sound, with emphasis on loudness, sacrificing a bit of the dynamic range while still maintaining bass depth.

50_AC3_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_AC_Light1
50_AC_Light2
50_AC_Dense1
50_AC_Loud1

These presets can be used for programs with 60's; 70's; 80's and 90's contents. Good for content that has not been heavily mastered! The AGCs run faster to keep the density up.
Light1 and 2 are very natural; Dense1 keeps density with clean final clipping; Loud1 keeps density plus more clipping for loudness.

50_CHR

A preset for (contemporary) hit radio stations suited for modern music production, it packs loudness, power and sparkle in one seductive sound while still allowing DJs to cut through loud and clear.

50_CHR_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_CHR2

Even louder than CHR and tuned for more high end brightness, if you like it bright and sizzling, this is the preset to start with. Despite its loudness, transient and rhythm impact is preserved.

50_CHR2_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_CHR3

Also a louder variation of the CHR preset, but with more emphasis on bass. For markets dominated with heavy low end rather than brightness. Suitable for Urban formats as well, seeking ultimate loudness.

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50_CHR3_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_CHR_Dyn01
50_CHR_Loud01
50_CHR_Loud02

These presets can be used for CHR Top 40 programs that use Dance, Pop, Groove, Rnb and some Rap music stuff. This preset has the most compromises, because need to run with many types of music materials...Dyn01 is the most natural with less loudness than the Loud ones.

50_Clean

Designed for public and other radio stations looking for extremely clean and non-fatiguing sound, with a very natural frequency balance. This preset performs less dynamic equalization allowing more original sound texture to come through from cut-to-cut. Transient impact and dynamics is also preserved for maximum fidelity to the source, but loudness is consistent. This is the most 'hi-fi' and cleanest preset of all 50 μs presets.

50_Clean_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the even larger dynamic range available when BS.412 MPX power limitation is used.

50_Dance_Dyn01
50_Dance_Dyn02
50_Dance_Loud01

These preset can be used for dance programs and electro music stuff.
Dyn01 is the more natural, vs Loud01 being the louder!

50_POP_Dyn01
50_POP_Dyn02
50_POP_Dense01
50_POP_Loud_01
50_POP_Loud02

These presets can be very useful, because the POP signification is not exactly the same in Europe vs USA. These can be used instead of CHR, for example, because the program director considers that their CHR program is POP. Here they consider that Oasis, GreenDay are pop, but Madonna, David Guetta or Black Eyed Peas are pop too! At the same time David Guetta is considered as dance music, so there is a lot of different type of contents with different balance structure on the sound... Oasis or GreenDay doesn't have high big kick energy vs Madonna, BEP and David Guetta has!!!

This is why there are many different type of POP presets with a lot of compromises on the bass and super high frequency regions.

These are specially adapted for heavy mastering stuff and dense contents with very low dynamics...

Dyn01 & 02 are the most natural.
Dense01 has more loudness created with the AGCs, but without heavy clipping.
Loud is loud!!!!

50_POP_BS412

The BS412 preset is for use with the new MPX Limiter in the 11. This Limiter works very fine now, but some points must be respected like :

- IN setup : peaks must be setup in the input menu to work -12dBFS on the 11's peak Input Level meter.
- MPX out : must be setup and adapted after some time with different contents to be adapted at 75 Khz deviation.

50_PowerHits

A good preset to try for most hit music formats.

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50_RnB_Dyn01

50_RnB_Dyn02

50_RnB_Loud01

These are specially adapted for Groove, Rap & RnB programs with hi amounts of deep bass balance inside. Dyn01 and Dyn02 keep the dynamics with less loudness than the Loud01 preset. Dyn01 has les loudness than Dyn02. Dyn01 is the most natural. Loud 01 is louder with less dynamics.

50_RocknRoll

Solid low end, dynamics, sparkling high end and one lush sound - everything is big in Rock ‘n’ Roll! Due to adaptive nature of Chameleon technology, suits modern and other rock formats as well.

50_RocknRoll_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the larger dynamic range available when BS.412 MPX power limitation is used.

50_Solid

For those preferring a very controlled sound, with minimal transient ‘outbursts’, this preset keeps everything in-check. Extremely consistent, natural frequency balance, with a bit tight and ‘firm’ sound it also outlines every little detail.

50_Solid_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the even larger dynamic range available when BS.412 MPX power limitation is used.

50_Talk_Light

50_Talk_Light2

These are for FM talk formats when a more natural sound that is not overly processed sounding is desired.

50_Talk_BS412

A talk format preset for use with the BS412 MPX limiter.

50_Top40

A different take on the CHR-style, Top40 brings different sound texture and cleaner sound while still being very competitive, relying more on compression and a bit more control. May appeal to those preferring the sound of analog processors back in the day, but with the edge of loudness and cleanliness of the modern Omnia DSP algorithms. Give it a try - it may win you over.

50_Top40_BS412

Same as the above, but with revised thresholds and other tweaks to exploit the even larger dynamic range available when BS.412 MPX power limitation is used.