Web UI Input Screen

The In (Input) screen displays the I/O header meters, vertical input meters, input-processing block diagram, and controls for the selected block.

Input Meters

The Input screen displays input-level meters for these input paths: Analog, AES 1, AES 2, AES 3, AoIP 1, AoIP 2, Playout, and HLS+.

Note: The individual input meters (Analog, AES 1, and so on) are pre-fader. The horizontal IN bar graph meters are post-fader.

Middle Panel

The middle panel displays the available input control blocks and shared controls.

Current I/O Config: Displays the currently selected I/O configuration.

Floppy Disk Icon: When hover over, displays the user-preset commands.

• Save As: Opens a dialog for saving a user preset. Enter a name in Preset Name and, optionally, add information in Notes.

• Import: Opens a file-selection dialog to import a previously exported Omnia XII user preset.

• Export: Exports a user preset as a /json file to the configured download location.

• Trash Can: Opens the Delete dialog for deleting a user preset.

Monitor

• Drop-down menu: Selects the point in the Omnia XII signal path used for monitoring. Options include:

  • FM Output: The fully processed, final audio signal designated for the FM transmitter analog air-chain. It includes final multiband limiting, pre-emphasis, and the effects of the FM clipper.

  • HD Output: The final processed audio signal meant for the digital HD Radio/DAB or streaming air-chain. Because digital codecs do not use pre-emphasis and are highly sensitive to clipping distortion, this path bypasses the FM pre-emphasis and final clipper, routing instead through the dedicated HD final limiter.

  • PreProc Out: The raw audio directly after initial input gain stages, and before any core leveling or automatic gain control occurs. Because it strips away the processing, monitoring this point acts as an operational bypass control to evaluate the untouched input source audio.

  • WBAGC Out: Audio tapped immediately after the Wideband Automatic Gain Control stage. This is the first level-leveling stage that smoothly rides long-term input variations before splitting the audio into separate frequency bands

  • MBAGC Out: The collective, blended output of the five-band Multiband Automatic Gain Control. This lets you hear the combined effect of all five frequency compressors balancing out the overall texture and spectral consistency of the program material before it enters the final peak limiters

  • MBAGC Out B1: This option taps exclusively Band 1, which handles the lowest frequencies (Sub-Bass / Heavy Bass).

  • MBAGC Out B2: This option taps exclusively Band 2, which governs the Mid-Bass / Lower Midrange frequencies.

  • MBAGC Out B3: This option taps exclusively Band 3, which governs the critical Midrange frequencies (where human speech and primary vocal presence reside).

• Level fader: Adjusts the Monitor level. Click and drag the fader to the left to decrease the level or to the right to increase it.

• Level field: Sets the Monitor level. Click the field, enter a value, and press Enter.

Block Diagram

The block diagram displays the available input control blocks. Select a block to display its controls in the bottom panel

Bottom Panel

The bottom panel displays controls for the input block selected in the middle panel.

Inputs

The Inputs block provides controls for the back-panel inputs, playout, and stream-receiver connections used by the Preferred Mix or Fallback Mix.

• Invert L: Inverts the polarity of the left input channel.

• Invert R: Inverts the polarity of the right input channel.

• Stereo Mode: Selects the desired mode: Stereo, Mono L, Mono R, Mono Sum, Swap, or MTX.

  • Stereo: This is the default normal operational mode. The left input feed maps directly to the internal left processing channel, and the right input maps directly to the internal right channel.

  • Mono L: Extracts the audio coming exclusively from the physical left input channel and duplicates it across both the left and right internal processing paths.

  • Mono R: Extracts the audio coming exclusively from the physical right input channel and duplicates it across both the left and right internal processing paths.

  • Mono Sum: Combines (sums) the physical left and right inputs together (L+R) into a single mono signal and feeds this combined signal equally to both internal processing channels.

  • Swap: Reverses the incoming channels. The physical left input is routed to the internal right channel, and the physical right channel is routed to the internal left channel.

  • MTX (Matrix/Mvx): Mid-Side matrixing mode. This treats the inputs as Sum (Mid) and Difference (Side) components, converting them into standard discrete Left/Right channels (or vice-versa depending on the specific matrix configuration block).

• Right Trim: Adjusts the right-channel level to balance it with the left channel.

Invert Controls Consideration

The Invert controls let you change the polarity of input audio in several ways. Enabling both Invert L and Invert R for an input typically sounds better to an announcer (monitoring themselves in headphones using the DJ output of the processing, as opposed to dialing both. The goal is to make the relative parse of the headphone feed more in phase with the announcer’s hearing of their own bone conduction. Once set, the setting remain the same for all announcers using the same headphone feed.

Enabling Invert L only, inverts the left channel phrase only. Enabling Invert R only, inverts the right channel phase only.

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.

AoIP

The AoIP control block routes and configures incoming Audio over IP (Livewire+ or AES67) network streams for the processor’s input channels.

• AoIP Receivers: After clicking in the box, lets you enter the numeric Livewrie Channel ID or, for AES67, the multicast address of the audio source to receive.

• Save: Applies the configuration changes to the system.

HLS+

The HLS+ control block provides settings for using an HLS stream receiver as an input source.

Control

This section configures the HLS+ stream receiver.

• Main HLS URL: Provides a field to enter the URL of the primary HLS stream.

• Backup HLS URL (optional): Provides a field to enter the URL of a backup HLS stream, if available.

• Mode: Selects the operating mode for the HLS stream receiver. Available modes determine whether the receiver uses the main stream alone or supports failover to the backup stream.

• Archive Duration: Sets the duration of audio to buffer for archiving, up to 24 hours.

• Start: Starts the HLS stream receiver.

• Stop: Stops the HLS stream receiver.

• Save: Saves the HLS configuration.

Send Metadata (Webhook)

• Enable Webhook: Enables metadata delivery using a webhook

• Metadata Webhook URL: Provides a field to enter the URL to which metadata should be sent

• Test: Tests the webhook configuration

Status

• Streaming: Indicates the streaming status

• Source: Identifies the current stream source

• Archive Buffered: Displays the amount of audio currently buffered for archiving

Playout

The Playout section provides settings for the Omnia XII internal audio player, which can supply emergency or backup audio.

The header provides navigation to the following screens: Playlist, Audio Library, Audio Upload, and Settings. Select Back to return to the previous screen.

Playlist Screen

Use this screen to play audio files on-air in the order they appear in the playlist.

• Play and Stop: Starts and stops on-air playback. Playback begins with the first file in the list and proceeds through the files in order. When Stop is pressed, the next file is queued. Playback continues until Stop is pressed or the primary audio resumes.

Audio Library Screen

Use this screen to view uploaded audio files and access their details or delete them.

Each file displays its Title, Artist, Type, Duration, and Plays, and includes two Actions buttons:

• [I]: Displays detailed information about the file.

• [X]: Deletes the file.

Audio Upload Screen

Use this screen to upload audio for emergency or backup playout. Audio may include station IDs, jingles, advertisements, emergency announcements, or other programming. The internal backup audio player supports up to 24 hours of audio.

• Media Category: Selects Song or Link.

• Choose Files: Opens a file-selection dialog.

• Upload: Uploads the selected audio files. After a successful upload, each file appears in the library with a status of Complete.

Settings Screen

Use this screen to configure how the playout engine selects audio from the library, helping to avoid excessive repetition of songs, artists, and links.

• Scheduling Rules

  Use the drop-down menus to configure these rules:

  • Same Song (min): Minimum time before the same song can play again.

  • Same Artist (min): Minimum time before another song by the same artist can play.

  • Same Title/Links (min): Minimum time before the same title or link can play again.

  • 1Links Interval (songs): Sets the interval between links, measured in songs.

  • Fade Duration (sec): Sets the fade duration in seconds.

  Save Settings: Saves the scheduling rules.

• Library Checker

  • Check Library: Checks whether the audio library meets the configured scheduling rules. If the checker reports that more songs, artists, or links are needed, upload additional audio files or adjust the scheduling rules.

• Maintenance

  • Reset History: Resets scheduling and playback statistics.

  • Re-scan Library: Rescans the audio files and resets their cue points.

  • Connected: Displays the connection status. The indicator is green when connected.

• Metadata (Omnia RDS)

  Use these settings to configure metadata integration with Omnia RDS.

  • Enable Omnia RDS: Enables Omnia RDS metadata integration.

  • API Token: Provides a field to enter the API token used for the integration.

  • Save Metadata Settings: Saves the Omnia RDS metadata settings.

Preferred Mix

The Preferred Mix defines the primary audio source used by Omnia XII.

Available input paths are:

• Analog: Audio from the back-panel Analog Left and Analog Right inputs

• AES 1, AES 2, and AES 3: Audio from the respective back-panel AES inputs

• AoIP 1 and AoIP 2: Audio received from configured Livewire+ or AES67 network streams

• Playout: Audio from the internal backup audio player, such as emergency or backup programming

• HLS+: Audio from the optional HLS stream receiver

Input Level: Adjusts the input level. Adjust the level so the horizontal IN bar-graph meters peak just into the yellow, approximately -15 to -12 dBFS.

Note: The individual input meters (Analog, AES 1, and so on) are pre-fader. The horizontal IN bar graph meters are post-fader.

Fade Time: Sets the fade time in seconds

Fallback Mix

The Fallback Mix defines the backup audio source used when the system is configured to switch away from the Preferred Mix.

The available input paths are the same as those for the Preferred Mix:

• Analog: Audio from the back-panel Analog Left and Analog Right inputs

• AES 1, AES 2, and AES 3: Audio from the respective back-panel AES inputs

• AoIP 1 and AoIP 2: Audio received from configured Livewire+ or AES67 network streams

• Playout: Audio from the internal backup audio player, such as emergency or backup programming

• HLS+: Audio from the optional HLS stream receiver

Input Level: Adjusts the input level. Adjust the level so the horizontal IN bar-graph meters peak just into the yellow, approximately -15 to -12 dBFS.

Note: The individual input meters (Analog, AES 1, and so on) are pre-fader. The horizontal IN bar graph meters are post-fader.

Fade Time: Sets the fade time in seconds.

Patch Return

The Patch Return controls configure an insert point, primarily for use with an external watermarking encoder.

Patch Mode: Enables or disables the patch return. When enabled, the patch point provides an insert between the bass clipper (after the multiband limiters) and the backend processing (including the FM clipper). This allows external equipment to be inserted into the signal path. The default setting is OFF.

Patch Return Source: Selects the physical output port used for the patch connection. For example, select AES 1 if the external equipment's input is connected to that output. The default setting is AES 1.

Patch Gain: Adjusts the patch-point level from -20 to +20 dB in 0.5 dB increments. The default setting is 0 dB.

Failover

The Failover controls configure how Omnia XII responds when audio on the Preferred Mix is no longer detected.

Input Mode: Selects how the system uses the Preferred Mix and Fallback Mix.

• Preferred Only: Uses the Preferred Mix, without automatically switching to the Fallback Mix.

• Fallback Only: Uses the Fallback Mix, without automatically switching to the Preferred Mix.

• Failover: Enables automatic switching from the Preferred Mix to the Fallback Mix when the Preferred Mix fails the configured audio-detection criteria.

Trigger Time: Sets how long the Preferred Mix must remain in a failed state before the system switches to the Fallback Mix. For example, if Trigger Time is set to 5 seconds, the switch occurs after the failure has persisted for 5 seconds, provided the fallback source is active.

Return Time: Sets the time associated with returning to the Preferred Mix after its audio is restored. Confirm whether this is a delay before returning or the duration of a transition.

Detect Level: Sets the absolute audio-level threshold used by the silence detector. Audio below this threshold is treated as silence. The default is -50 dB; a suggested starting range is -35 to -40 dB. Setting the threshold too high may trigger failover during quiet speech. Setting it too low may allow line noise or microphone noise to be mistaken for valid program audio.

Direct Relative Level: Sets the relative-level threshold used to detect a significant difference between the stereo channels. This detection can trigger failover if one channel drops substantially relative to the other, or if a phase problem significantly reduces the mono sum.