Audio Processing Basics

Processing Overview and Signal Path

Omnia Enterprise 9s uses the same dynamics processing engine found in the Omnia.9 hardware processor.

Starting at the unprocessed input audio and working forward through the path, the audio processing include:

• Phase Processing

• Downward Expanders

• Input AGC

• Wideband AGC 1

• Solar Plexus

• Parametric EQ

• Stereo Enhancer

• Multiband AGCs and Limiters

• Multiband Compression

• Dry Voice Detector

• Wideband AGC 2

• Wideband AGC 3

• Band Mix

• Bass Clipper

• FM Clipper/HD Limiter

Each Station has its own set of processing controls for each output path (FM, HD, and streaming).

Details for each control can be found in the section on Adjusting the Processing.

Auditioning Presets

Omnia Enterprise 9s includes a wide variety of factory presets that can either be used as-is or act as a starting point for user customization. Each was created with a different end goal in mind in terms of loudness, density, and spectral balance.

There is no "one size fits all" preset as personal preferences, content type, music genre, and market-specific conditions (including loudness) will all factor in. Likewise, there is no shortcut to choosing the right starting preset or ultimately making adjustments to fine-tune the processing. Setting up a processor requires extensive listening and cooperation between engineering, programming, and any other parties with a vested interest and a voice in the decision-making process.

Remember that our ears fatigue quickly, especially when listening at higher volumes, so be conscious of "volume creep" as you listen and avoid listening for more than 10-15 minutes at a time without taking a short break. The type and quality of the source material can also cause early fatigue; music that is already very compressed, poorly recorded, or spectrally unbalanced will all negatively affect how long you can listen without becoming annoyed, either consciously or subconsciously.

We recommend auditioning all of the presets off-air first. The goal here isn't necessarily to find the perfect one right away but rather to narrow down the list by removing the ones that you don't care for from the running.

Many will have something about them you like but aren't quite right; for example, you might like the overall texture but want more low-end or more loudness. Mark these as good candidates as you move through the list, remembering that perfection isn't the goal just yet.

As you listen, keep in mind that overall loudness is probably the easiest aspect of processing to adjust (in either direction) so if you find a preset you like that just isn't loud enough (or seems too loud) don't be too hasty about ruling it out based on loudness alone.

When you have your list narrowed down to two or three finalists, try the one on-air to see how it sounds through the rest of your transmission path and against the other stations in the market. Unless something is egregiously wrong, commit to living with the preset for a day or two so that you can audition it with a wide variety of songs and announcer voices and in multiple listening environments. Do the same with the other candidates, choose one as your ideal starting preset, and then begin making small adjustments to get closer to your ultimate sound.

If you are still struggling to get the sound you want, your SLA (Service Level Agreement) gives you access to our Omnia processing team for tips and general guidance. Advanced custom preset creation is also available for an additional fee. Please contact your Omnia sales representative to learn more.