Telos Z/IPSTREAM R/2 User Manual

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Z/IPSTREAM R/2

8 Channels of Z/IPStream, One Box.

USER'S MANUAL

Z/IPStream R/2 Manual for Software v1.01.35

Applies to: 2001-00441 through 2001-00454 and 2201-00034 through 2201-00036

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Page 1 Z/IPSTREAM R/2 8 Channels of Z/IPStream, One Box. USER’S MANUAL Z/IPStream R/2 Manual for Software v1.01.35 Applies to: 2001-00441 through 2001-00454 and 2201-00034 through 2201-00036...
Page 2 Notices and Cautions CAUTION: The installation and service instructions in this manual are for use by qualified personnel only. To avoid electric shock, do not perform any servicing other than that contained in the operating instructions unless you are qualified to do so.
Page 3 WARNUNG: Die Installations-und Serviceanleitung in diesem Handbuch ist für die Benutzung durch qualifiziertes Fachperson- al. Um Stromschläge zu vermeiden führen Sie keine andere Wartung durch als in dieser Betriebsanleitung aufge- führt, es sei denn Sie sind dafür qualifiziert. Überlassen Sie alle Reparaturarbeiten qualifiziertem Fachpersonal. Dieses Gerät hat eine automatische Bereichseinstellung der Netzspannung.
Page 4 USA CLASS A COMPUTING DEVICE INFORMATION TO USER. WARNING: This equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used as directed by this manual, it may cause interference to radio communication. This equipment complies with the limits for a class a computing device, as specified by fcc rules, part 15, subpart j, which are designed to provide reasonable protec- tion against such interference when this type of equipment is operated in a commercial environment.
Page 5 The operation of Z/IPStream R/2 is determined largely by software. We routinely release new versions to add features and fix bugs. Check the Telos Alliance web site for the latest. We encourage you to sign-up for the email notification service offered on the site.
Page 6 ♦ All other questions, please email inquiry@telosalliance.com ♦ VIA WORLD WIDE WEB: The Telos Alliance web site has a variety of information which may be useful for product selection and support. The URL is www.TelosAlliance.com REGISTER YOUR PRODUCT Did you know that all Telos Alliance products come with a 5-Year Warranty? Take a moment to activate your coverage online at http://telosalliance.com/product-registration/ .
Page 7: Table Of Contents
TABLE OF CONTENTS A Letter from our CEO, Frank Foti About This Manual (Or: Start Here…Really.) So what is Z/IPStream R/2? A few words about Livewire+ and AES67 Installation TFront Panel Interface IP Address Configuration Web GUI Navigation Audio Source Configuration...
Page 8 Dear Valued Customer, It’s with great pride and a tip of the hat to an incredible team that I congratulate you on your new Telos Alliance product. Everything we do here at the radio division of the Telos Alliance is with one end goal in mind: To help broadcasters declare victory in extremely competitive environments.
Page 9: About This Manual (Or: Start Here
About This Manual Read Me. Please. (OK, at least read some of me.) If you’re like many engineers or IT types, you’ve probably already put your brand new R/2 into the rack, connected power, connected the network, and perhaps even connected some audio. You may have even powered it up and figured out how to set an IP address to access the web GUI.
Page 10 MP3 and ISDN This revolution continued with the introduction of the Telos Zephyr ISDN codec in 1993. It was the first codec to make use of the (then relatively new) MPEG Layer III codec to send full 20 kHz mono audio across a single 56 or 64 kbps data channel.
Page 11 The Internet was still in its infancy, but it had developed to the point where streaming audio (even over dialup) was becoming viable. In 1997, Telos introduced the very first dedicated hardware encoder for MP3 streaming over the Internet, simplifying what was a bit of a cumbersome process and dramatically improving the audio quality.
Page 12: So What Is Z/Ipstream R/2
Features Z/IPStream R/2 supports up to 8 simultaneous audio channels, including the latest generation of licensed MP3 and AAC codecs for streaming, with signature Omnia 3-band or powerful Omnia.9 processing. Flexible configuration allows multiple processing and/or encoding instances per audio channel.
Page 13: A Few Words About Livewire+ And Aes67
An entire facility can be wired in hours, instead of weeks. All Axia Audio studio products, and most products from other Telos Alliance brands, utilize Livewire+ networking technology. Expanding or modifying your system is simple thanks to the inherent scalability and modularity of Livewire+.
Page 14 0.0002% THD. Even analog xNodes have 100dB dynamic range, < 0.005% THD, and headroom to +24dBu. Livewire+ is standards-based Since the very beginning, The Telos Alliance has based its AoIP networking technologies on standards. IP (Internet Protocol), the networking standard that is the underpinning of nearly all critical business networks (and of the Internet itself ) is the basis for Livewire+ AoIP.
Page 15 Livewire+ is fully compliant with the AES67 Interoperability Standard. ♦ Impressive, no? But there are even more exciting things in the future. The Telos Alliance, with one of the largest R&D groups in broadcast, is fully committed to AoIP interoperability. We’ve been proponents of open standards since Day 1, freely sharing our technology with interested Hardware and Software Partners.
Page 16: Installation
SECTION 3 | Installation Physical Considerations Rack Mounting R/2 includes a pair of rack rails designed to secure the unit to the rear of the equipment rack. It is highly recom- mended that you install these rails if possible due to the depth of the unit. Mounting by the front panel alone may cause excessive strain on the chassis and is not recommended.
Page 17 Ensure each interface is connected to a different IP network, (different VLAN, physical switch, IP address block, etc.) as necessary. Consult your IT department or Telos technical support if you are not sure how the interfaces should be configured. Only one interface may be...
Page 18 SECTION 3 | INSTALLATION Factory service only. Not currently implemented. Audio (AES/EBU) Eight AES/EBU audio connections are available through two high-density 26-pin D-sub connectors. Connect the provided breakout cable(s) to the D-sub connectors. Use the thumbscrews to securely attach the cables in place. Sample rate conversion is provided on all inputs.
Page 19 SECTION 3 | INSTALLATION Audio Card Pinout Port A, Jumpers Signal Signal Signal Clock Gnd Clock In OUT4 Cold OUT4 Hot OUT4 Gnd OUT3 Gnd OUT3 Cold OUT3 Hot OUT2 Cold OUT2 Hot OUT2 Gnd OUT1 Gnd OUT1 Cold OUT1 Hot IN4 Cold IN4 Hot IN4 Gnd...
Page 20 SECTION 3 | INSTALLATION Fans The fans in R/2 are thermostatically controlled. As the unit powers up, the fans will start at full speed. They should spin down to a much slower speed after a short period of time. If they do not return to low speed, it may indicate a faulty fan or other hardware issue.
Page 21: Tfront Panel Interface
The others are not currently implemented. Main LCD The main LCD provides unit status and configuration. If this LCD fails to display the Z/IPStream R/2 splash screen at startup, or remains blank during operation, please contact technical support. Navigation Cluster A six button navigation cluster is used for initial IP address configuration and navigating the front panel LCD.
Page 22 SECTION 4 | FRONT PANEL INTERFACE System Status LEDs A set of five LEDs next to the power and reset buttons indicates system status. Info Used for alert indication or system identification. Solid red: The system has overheated. This may be caused by reduced airflow or high ambient tempera- ♦...
Page 23 SECTION 4 | FRONT PANEL INTERFACE Front Panel USB Port This port is used for software upgrades, as well as factory configuration and troubleshooting. Contact technical support for additional information.
Page 24: Ip Address Configuration
SECTION 5 | IP Address Configuration Overview After physical installation of R/2 has been completed, at least one of the two network interfaces must be assigned an IP address to allow further configuration and normal operation. IP Configuration Each of the two network interfaces on R/2 can be assigned a static IP address, or obtain an IP address automatically via DHCP (Dynamic Host Configuration Protocol).
Page 25 SECTION 5 | IP ADDRESS CONFIGURATION Once you have selected the desired interface (displayed here in the upper right hand corner of the LCD), you can select which mode that interface should operate in. By default, R/2 ships with both interfaces configured for DHCP. Verify Current Interface Parameters To verify the current IP address and mode, from the “Network Mode”...
Page 26 SECTION 5 | IP ADDRESS CONFIGURATION To modify the static IP configuration: Use the up/down arrow keys to select the field you want to change (IP address, Netmask, or Gateway). ♦ Press the “” key to begin editing a field. ♦...
Page 27: Web Gui Navigation
Most modern browsers are supported (including Chrome, Firefox, Safari, Edge, and others that support HTML 5). No Java or Flash is used in the R/2 web GUI. Login Enter user as the user name. There is no default password. click the Submit button. You should now be logged into Z/IPStream R/2.
Page 28: Control Panel
SECTION 6 | WEB GUI NAVIGATION Control Panel The main “home” display is called the “Control Panel” This is the screen where the status of all processing and encoding instances is displayed, and new processing or encoding instances are defined (Chapter 8). All other configuration functions can be accessed through the sections listed at the top this screen.
Page 29 SECTION 6 | WEB GUI NAVIGATION Audio Sources (Chapter 7) R/2 is licensed by number of audio sources. These sources must be defined before processing and encoding instanc- es can be configured. The “Audio Sources” screen defines available audio channels for processing and encoding. These sources can be AES inputs from the internal audio card, Livewire channels from an Audio over IP network, or other RTP audio stream (Unicast or Multicast).
Page 30 SECTION 6 | WEB GUI NAVIGATION Schedule Manager (Chapter 11) R/2 supports timed scripting of events for various functions. This could include switching to an alternate audio source on a stream, changing a processing preset, or blacking out a sports broadcast or other content for which you do not have streaming rights.
Page 31 SECTION 6 | WEB GUI NAVIGATION Processing Presets (Chapter 13) The “Preset Editing” screen allows management of audio processing presets for the standard Omnia 3 processing. Presets can be added (copied from an existing preset), uploaded from a compatible preset file, or deleted from the unit.
Page 32 SECTION 6 | WEB GUI NAVIGATION Logs (Chapter 15) Comprehensive logs are kept for diagnostic and other purposes. This screen allows viewing or downloading logs from R/2.
Page 33: Audio Source Configuration
SECTION 7 | Audio Source Configuration Overview This chapter will cover defining the audio sources available for processing and encoding in R/2—one of the most critical steps in configuration after setting the IP addresses and accessing the web GUI. R/2 is licensed by number of audio sources. Two audio sources are standard with R/2, up to eight can be licensed per unit.
Page 34 SECTION 7 | AUDIO SOURCE CONFIGURATION Wave: Local audio card Allows input from a local AES/EBU audio source or Livewire audio channel. Selecting this option will open the “Add Wave Audio Source” panel. Friendly name Since many audio source names on the system can be very similar, give this audio source a “Friendly” name that will be easier to remember when configuring processing and encoding instances (for example, Livewire 1, AES 1, Classical, Jazz, or whatever else will make it easier to identify in R/2).
Page 35 SECTION 7 | AUDIO SOURCE CONFIGURATION Source device Displays a list of available source devices on the system. There are up to 24 possible Livewire inputs available (defined via the “Livewire Driver” menu) and 8 AES inputs available. Notes: Available Livewire I/O channels are mapped via the “Livewire Driver” menu. Audio card port “A”...
Page 36 SECTION 7 | AUDIO SOURCE CONFIGURATION AES Breakout Cable Layout RTP: Local port Allows input via a unicast RTP stream on a user-defined IP port. Selecting this option will open the “Add RTP Audio Source” panel.
Page 37 SECTION 7 | AUDIO SOURCE CONFIGURATION Friendly name Since many audio source names on the system can be very similar, give this audio source a “Friendly” name that will be easier to remember when configuring processing and encoding instances (for example, Livewire 1, AES 1, Classical, Jazz, or whatever else will make it easier to identify in R/2).
Page 38 SECTION 7 | AUDIO SOURCE CONFIGURATION Friendly name Since many audio source names on the system can be very similar, give this audio source a “Friendly” name that will be easier to remember when configuring processing and encoding instances (for example, Livewire 1, AES 1, Classical, Jazz, or whatever else will make it easier to identify in R/2).
Page 39 SECTION 7 | AUDIO SOURCE CONFIGURATION Triton Digital Services R/2 offers a direct streamlined interface to Triton Digital Services for streaming and ad replacement. Stations can be added to R/2 via the “Triton Digital Services” screen. This screen also allows stations to be removed from R/2, or toggled on and off.
Page 40 SECTION 7 | AUDIO SOURCE CONFIGURATION Livewire Driver The “Livewire Driver Configuration” screen allows configuration of the integrated Livewire IP Audio Driver and provides a direct mechanism for defining the Livewire channel names and numbers used by R/2. Up to 24 Livewire channels are available and correspond to the 24 Livewire channels available via the “Source Device”...
Page 41 SECTION 7 | AUDIO SOURCE CONFIGURATION Name Enter a name to uniquely identify this channel on the Livewire network. It will appear on other Livewire devices as name@ZIPStreamR2 (see the above channel list for an example). SRC (Send) Enter a unique Livewire network channel number from 1 to 32767 that each IP audio driver channel will SEND to as a SOURCE.
Page 42: Processing And Encoding
SECTION 8 | Processing and Encoding Overview Once the audio sources have been defined, the next step is to configure the processing and encoding instances that will use those sources. Each audio source can be used for audio processing only, encoding only, or any combination of the two.
Page 43 PROCESSING AND ENCODING SECTION 8 Create New Program The “Create New Program” window allows selection of the “program type” to be defined. Click on the program type that you wish to create. Note: Multiple processing and/or encoding instances (program types) are supported for each of the audio sources defined previously (see Chapter 7).
Page 44 PROCESSING AND ENCODING SECTION 8 While R/2 is designed primarily for streaming applications, there may be cases where you wish to process an audio signal without encoding a stream for a server. The “Audio Processing Instance” program allows processing an audio I/O without encoding.
Page 45 PROCESSING AND ENCODING SECTION 8 If optional Omnia.9 processing is enabled, the preset must be selected via NfRemote software due to the powerful processing tools and test instrumentation available through Omnia.9. See Chapter 16 for more details. Output device The available output destinations for audio from this instance are listed here (up to 24 Livewire outputs, and 8 local AES outputs).
Page 46 PROCESSING AND ENCODING SECTION 8 Standard AAC Encoder Instance The Standard AAC Encoder instance accepts audio from a source, encodes it to AAC, and then passes the encoded stream along to one or more servers that you specify. Remember that that the encoded stream can be sent simulta- neously to multiple servers, which will then replicate the stream to the client.
Page 47 PROCESSING AND ENCODING SECTION 8 Processing preset Selects the processing preset to be used for this instance. When Omnia 3 processing is selected, the list of available presets will appear. These presets are not format specific, though there are bitrate specific presets for “Music” and “Talk”.
Page 48 PROCESSING AND ENCODING SECTION 8 Mono/Stereo Select whether this stream will be encoded in Mono or Stereo. Mono should provide a mono sum of the incoming This setting will be locked to stereo for HE-AAC v2. audio. Bitrate Enter the bitrate for this stream. The valid bitrate range will change depending on which AAC format is selected. Stream Output Format Selects the output file format for the stream.
Page 49 PROCESSING AND ENCODING SECTION 8 Adding Streams Multiple server destinations can be specified for each encoder instance. To add a destination, click on “Select stream type to add”. Supported server destinations include HTTP, Icecast, SHOUTcast, Wowza, or other RTMP (Adobe Flash Media Server, etc.) From the dropdown menu, select the server type that you wish to send an output from this encoder instance to.
Page 50 PROCESSING AND ENCODING SECTION 8 ing, as the delay is much shorter than that experienced with an external server. Friendly Name Specify an easy to remember “Friendly” name to identify this stream output in the list of streams that have been defined (i.e.
Page 51 PROCESSING AND ENCODING SECTION 8 Metadata source Select a metadata input source to be used with this encoding instance (if desired). See Chapter 10 for more details. Server address Enter the IP address and port of the ICEcast server. Mount point Each ICEcast server may contain multiple broadcasts (or mount points) each containing a separate stream of content.
Page 52 PROCESSING AND ENCODING SECTION 8 Send to SHOUTcast Server SHOUTcast DNAS (Distributed Network Audio Software) is a media server developed by Nullsoft, now distribut- ed by Radionomy. SHOUTcast is available in multiple levels from from a basic (free) version, through paid options that allow monetization.
Page 53 PROCESSING AND ENCODING SECTION 8 Check the Public checkbox to list this stream in public directories, or leave it un-checked if you do not want the stream listed. Note: Even with the “Public” checkbox un-checked, it may still be possible for stream “aggregators” to find and list your stream as they crawl the Internet searching for publicly available audio streams.
Page 54 This file can be downloaded from the Wowza server by clicking on the desired streaming application in Wowza (live, for example) then clicking on “Incoming Publishers”. Select “The Telos Alliance” from the list of available encoder manufacturers. The appropriate configuration parameters will appear, along with a button to download an XML file containing the configuration for R/2.
Page 55 PROCESSING AND ENCODING SECTION 8 Load from file Click here to load Wowza XML configuration data from a file. When finished, click “Save” to save and return to the “AAC Encoder” screen or click “Cancel” to cancel any changes. Send to Wowza Server Allows manual configuration of a stream pushed to a Wowza server.
Page 56 PROCESSING AND ENCODING SECTION 8 When finished, click “Save” to save and return to the “AAC Encoder” screen or click “Cancel” to cancel any changes. Send to RTMP Server RTMP (Real Time Messaging Protocol) is a TCP-based protocol initially developed by Macromedia to deliver streams to the Flash player.
Page 57 PROCESSING AND ENCODING SECTION 8 Some providers, such as Akamai, require the stream name to be very specific, and they provide the format that must be used. Use RTMP Authentication Check this box to use authentication when sending a stream to the RTMP server. Username Enter the username for encoding to your RTMP server.
Page 58 PROCESSING AND ENCODING SECTION 8 Processing Selects between Omnia 3 and optional Omnia.9 processing (or no processing at all, should you simply want to route audio through this instance without processing). Up to 8 channels of Omnia.9 processing can be licensed per R/2.
Page 59 PROCESSING AND ENCODING SECTION 8 Bitrate Enter the bitrate for this stream. Valid MP3 bitrates are 20 kbps to 320 kbps. Adding Streams Multiple server destinations can be specified for each encoder instance. To add a destination, click on “Select stream type to add”.
Page 60 PROCESSING AND ENCODING SECTION 8 Friendly Name Specify an easy to remember “Friendly” name to identify this stream output in the list of streams that have been defined (i.e. Kxxx – Internal Test Stream). Stream resource ID This resource ID will become part of the URL that you use to reach this stream. For example, if the stream server is active on port 8888, and you use a resource ID of “TestStream”...
Page 61 PROCESSING AND ENCODING SECTION 8 Friendly name Specify an easy to remember “Friendly” name to identify this stream output in the list of streams that have been defined (i.e. Kxxx – Icecast Stream). Metadata source Select a metadata input source to be used with this encoding instance (if desired). See Chapter 10 for more details. Server address Enter the IP address and port of the ICEcast server.
Page 62 PROCESSING AND ENCODING SECTION 8 When finished, click “Save” to save and return to the “MP3 Encoder” screen or click “Cancel” to cancel any changes. Send to SHOUTcast Server SHOUTcast DNAS (Distributed Network Audio Software) is a media server developed by Nullsoft, now distribut- ed by Radionomy.
Page 63 PROCESSING AND ENCODING SECTION 8 Check the Public checkbox to list this stream in public directories, or leave it un-checked if you do not want the stream listed. Note: Even with the “Public” checkbox un-checked, it may still be possible for stream “aggregators” to find and list your stream as they crawl the Internet searching for publicly available audio streams.
Page 64 This file can be downloaded from the Wowza server by clicking on the desired streaming application in Wowza (live, for example) then clicking on “Incoming Publishers”. Select “The Telos Alliance” from the list of available encoder manufacturers. The appropriate configuration parameters will appear, along with a button to download an XML file containing the configuration for R/2.
Page 65 PROCESSING AND ENCODING SECTION 8 Send to Wowza Server Allows manual configuration of a stream pushed to a Wowza server. Friendly name Specify an easy to remember “Friendly” name to identify this stream output in the list of streams that have been defined (i.e.
Page 66 PROCESSING AND ENCODING SECTION 8 Send to RTMP Server RTMP (Real Time Messaging Protocol) is a TCP-based protocol initially developed by Macromedia to deliver streams to the Flash player. The specification is now available (albeit in incomplete form) for public use. A number of servers support the RTMP protocol, including Adobe Flash Media Server, Wowza and others.
Page 67 PROCESSING AND ENCODING SECTION 8 Password Enter the password for encoding to your RTMP server. When finished, click “Save” to save and return to the “MP3 Encoder” screen or click “Cancel” to cancel any changes. Adaptive AAC Encoder As more audio content is being streamed to mobile devices, adaptive encoders take on increased importance. An adaptive encoder sends an audio stream in multiple bitrates to the server.
Page 68 PROCESSING AND ENCODING SECTION 8 Processing preset Selects the processing preset to be used for this instance. When Omnia 3 processing is selected, the list of available presets will appear. These presets are not format specific, though there are bitrate specific presets for “Music” and “Talk”.
Page 69 PROCESSING AND ENCODING SECTION 8 Note: ADIF and ADTS CRC should NOT be used with Smooth Streaming or HLS unless there are very specific server requirements. RAW (for Smooth Streaming) Smooth Streaming is an IIS Media Services extension that facilitates adaptive streaming to clients via HTTP. SDKs are available from Microsoft to enable Smooth Streaming over Silverlight and Windows Phone 7.
Page 70 PROCESSING AND ENCODING SECTION 8 ADTS (for HLS) Apple’s HTTP Live Streaming protocol allows you to create multiple bitrate adaptive streams, which allow the client’s device to request the needed bitrate stream depending on the available network bandwidth. Friendly name Specify an easy to remember “Friendly”...
Page 71 PROCESSING AND ENCODING SECTION 8 Configuring Available Bitrates In addition to defining the other adaptive streaming parameters, you will need to configure the bitrates and AAC encoding formats contained in those streams. Click “Add bitrate” to add an entry to the list. AAC Format There are several different “flavors”...
Page 72 PROCESSING AND ENCODING SECTION 8 Channels Select whether this stream will be encoded in Mono or Stereo. Mono should provide a mono sum of the incoming This setting will be locked to stereo for HE-AAC v2. audio. Bitrate Enter the bitrate for this stream. The valid bitrate range will change depending on which AAC format is selected. When finished, click “Save”...
Page 73: Z/Ipstream
PROCESSING AND ENCODING SECTION 8 Click “Main” or the Z/IPStream R/2 logo to return to the main “Control Panel” screen. All processing and encoding instances that have been defined will be displayed, along with their configured parameters and status. Click the “triangle”...
Page 74 PROCESSING AND ENCODING SECTION 8 Stops an instance that is currently started. Metering and Processing Control I/O Metering is provided for each instance. Audio processing presets for each instance can be modified by clicking the “pencil” icon next to the preset name (see Chapter 9 for more details on Omnia 3 processing). Instances using Omnia.9 processing can be accessed via NfRemote for more detailed monitoring and control of the audio processing (see Chapter 16).
Page 75: Omnia 3 Processing Setup
Omnia 3 Processing Setup Overview Standard audio processing for Z/IPStream R/2 is the Omnia 3-band processor. Omnia 3 is intuitive and easy to use. Applying audio will activate movement on the bar graphs, and this is confirmation that processing is occurring.
Page 76 SECTION 9 | OMNIA 3 PROCESSING SETUP Note: The input and output levels are displayed relative to 0dB full scale (0dBfs). The 0 indicator on the in- put/output bar graphs means that every available bit of signal level is being used at that time! There is nothing more in the level department, except to create distortion…...
Page 77 SECTION 9 | OMNIA 3 PROCESSING SETUP The intent of the Multiband section is to normalize the spectral balance and provide control of the peak levels. Peak energy must be detected and adjusted in a quick and accurate manner while, at the same time, not interfering with the sonic integrity of the audio signal.
Page 78 SECTION 9 | OMNIA 3 PROCESSING SETUP Wide Band AGC A very flexible wideband leveler section provides smooth, transparent control of the input program. This is achieved through two significant Omnia innovations: a dual referenced release gate and a hidden, intelligent “makeup”...
Page 79 SECTION 9 | OMNIA 3 PROCESSING SETUP Drive The sets the audio level that enters the WB-AGC. Increasing the Drive will produce more compression. This control is calibrated between –6dB and +6dB, and adjusts the signal level into the Wideband AGC. It should be adjusted to net approximately 12dB of gain reduction with typical programming.
Page 80 SECTION 9 | OMNIA 3 PROCESSING SETUP Phat Bass A unique enhancement that adds filtered harmonics of the lower registers to the upper bass frequencies. The algorithm extracts information contained in the initial attack to do its work, and low frequency texture is therefore emphasized.
Page 81 SECTION 9 | OMNIA 3 PROCESSING SETUP Multiband AGC Sections Similar in character to the wideband AGC described above, but expanded to three bands, this section has the ability to significantly add power and loudness to the audio while tailoring and pre-processing it for delivery to the final limiter section.
Page 82 SECTION 9 | OMNIA 3 PROCESSING SETUP Gate When set to ON, it will freeze the gain at the last level of processing action that occurred before the audio signal fell below the threshold of operation. This control helps to minimize “pumping”, and the increase of background noise during pauses in programming.
Page 83 SECTION 9 | OMNIA 3 PROCESSING SETUP Final Limiter Omnia 3 employs a lookahead limiter to provide absolute and precision peak control. This limiter has been designed to minimize processing side-affects like IMD, which are usually associated with limiters of this type. Using an innovative design that cancels intermodulation products before they develop, allows this limiter to sound extremely transparent.
Page 84 SECTION 9 | OMNIA 3 PROCESSING SETUP Output The peak output level adjustment is done using the individual Left/Right output controls. The control range is from –26dB to +6dB of gain. This level is normally set to the maximum input level, or just below it, of the device that the Omnia 3 is connected to.
Page 85 SECTION 9 | OMNIA 3 PROCESSING SETUP Bypass The processing can be bypassed simply by clicking on the BYPASS button located in the lower right hand corner of the processing panels. This is a simple and fast method to compare the before and after affects of the processing. To save changes to the current processing preset and return to the main “Control Panel”...
Page 86: Metadata Sources And Filters
SECTION 10 | Metadata Sources and Filters Overview The metadata subsystem gives you the option to tag your audio stream with “now playing” text, album covers and other graphic information. The metadata is received from an external system over TCP/IP or UDP, then passed to a metadata filter for parsing. RS-232 serial metadata will be supported in a future version.
Page 87 SECTION 10 | METADATA SOURCES AND FILTERS TCP on specific port This selection accepts metadata via a specified TCP port and processes it according to the selected Metadata filter. Friendly name Enter an easily identifiable “friendly” name for this metadata source (i.e. Kxxx Automation Metadata). Local port to accept TCP connection Enter the TCP port number where your automation or metadata management system will connect to send metada- ta to R/2.
Page 88 SECTION 10 | METADATA SOURCES AND FILTERS UDP on specific port This selection accepts metadata via a specified UDP port and processes it according to the selected Metadata filter. Friendly name Enter an easily identifiable “friendly” name for this metadata source (i.e. Kxxx Automation Metadata). Local port to accept UDP connection Enter the UDP port number where your automation or metadata management system will connect to send metadata to R/2.
Page 89 SECTION 10 | METADATA SOURCES AND FILTERS Add Serial Metadata source RS-232 serial metadata is not currently implemented in R/2. Click Save to save this entry, or Cancel to return to the Metadata screen. Manage Filters R/2 is extremely flexible and can accept stream metadata from a number of different sources using metadata “filters”.
Page 90: Event Scheduling
SECTION 11 | Event Scheduler Overview The scheduler is able to start, stop audio processor instances or encoders and change an instance’s processing preset at specified times. This is useful if you want to encode and stream only certain shows. If you need to process one show differently than another, you can use the scheduler to change audio processing presets.
Page 91 SECTION 11 | EVENT SCHEDULER Add Weekly Event Event Name Enter a name for the event. Keep the names descriptive but use only letters, digits, underscore and space characters. Do not use other special characters. Time (24 hour, HH:MM:SS) Enter the time for the event (in 24-hour, HH:MM:SS format) Days Click the check boxes for the days of the week when the event should be active.
Page 92 SECTION 11 | EVENT SCHEDULER InstanceLoadPreset(“instance_name”,”preset_name”) Use this command to load the preset named preset_name into the instance named instance_name. You may add multiple commands by entering each command on a separate line. For example, you could start an instance then load a certain preset for it. Or you could start or stop multiple instances at the same time. Click “Cancel”...
Page 93: License Management
Licenses Displays the current license key(s) on the system. Click “Add” to add a new license key. NOTE: Licenses are verified with a Telos licensing server. Make sure R/2 is connected to the Internet when you enter the license codes.
Page 94 SECTION 12 | LICENSE MANAGEMENT Add… Enter the license key. Click “Save” to save or “Cancel” to return to the Licenses screen without adding the license key. The code you entered will appear in the Licenses list on the left. Next to the license code, you will see additional text describing the state of the license.
Page 95: Omnia 3 Preset Management
SECTION 13 | Omnia 3 Preset Management Overview R/2 is equipped with Omnia 3 processing on all audio channels. The “Presets” screen allows creating new presets and managing existing Omnia 3 presets on the system. More information on editing Omnia 3 processing and presets can be found in Chapter 9.
Page 96 SECTION 13 | LICENSE MANAGEMENT Add Preset Name Enter a “Friendly Name” for this preset (i.e. Kxxx – HOT HOT HOT) so it can be easily located in the list of presets. Copy from Select a factory preset as a starting point for this new preset. Click “Cancel”...
Page 97: System Options
SECTION 14 | System Options Overview This chapter will cover global configuration options including: Setting administrative username and password ♦ Modifying web interface and stream server ports ♦ Configuring logging ♦ E-Mail alerts for error conditions ♦ Backup and restore of system configuration ♦...
Page 98 SECTION 14 | SYSTEM OPTIONS Administrative username The default administrative login is “user”. Although only one administrative login username is supported, this username can be changed if desired. Administrative password By default, this password is blank. It is highly recommended that this password be changed, particularly if the R/2 web interface will be accessible from the public Internet.
Page 99 If you are not familiar with how to do this, see the tutorial at http://sms411.net/ how-to-send-email-to-a-phone/. Sender name The default is ‘Z/IPStream R/2 application’. It will be useful to change this, if you have more than one R/2 running in your facility). Sender email address Enter the account username.
Page 100 SECTION 14 | SYSTEM OPTIONS Email send interval Determines how frequently Z/IPStream sends you email alerts about a problem. The default is 3600 seconds (one hour). We suggest not setting it lower. You want to have a value large enough to give you enough time to resolve the situation before the problem repeats.
Page 101 SECTION 14 | SYSTEM OPTIONS Restore Restores the selected backup from the list. Delete Deletes the selected backup from the list. Download Downloads the selected backup from the list. Click “Options” to return to the system options screen. Services The various software components of R/2 run as “Services” on the system. While it should not be necessary under normal circumstances, this interface will allow each of the components to be restarted, stopped, or started as a troubleshooting measure.
Page 102 Web Interface Restarts the web interface service. This will log you out of R/2. Z/IPStream R/2 encoder Restarts the main R/2 encoder service. This is an alternative to completely rebooting R/2 and will restart all R/2 functions.
Page 103: Date And Time
SECTION 14 | SYSTEM OPTIONS Date and Time Provides various parameters related to setting the date and time on the unit. Typically, the system time would be set via NTP (Network Time Protocol). While time can also be set manually, it is critical for logging and other purposes that the R/2 have an accurate time reference.
Page 104 SECTION 14 | SYSTEM OPTIONS Last NTP update Displays the last time the NTP server was successfully queried and the amount of correction. If everything is working properly, the correction value should be fairly small and the last update should be within the specified interval.
Page 105: Network Configuration
SECTION 14 | SYSTEM OPTIONS Network Configuration While the initial configuration of IP addresses is done from the front panel of R/2, the Network Configuration screen allows reconfiguration of network interfaces, as well as specifying DNS servers for each interface. Note: Improper configuration of network parameters could disrupt connectivity to R/2.
Page 106 SECTION 14 | SYSTEM OPTIONS Interface 1/Interface 2 Configures parameters for NIC 1 or NIC 2 Mode Set to “Auto (DHCP)” to obtain an address via DHCP (Dynamic Host Configuration Protocol), “Manual” to specify IP address parameters manually, or “Disabled” to disable the interface entirely. IP address Displays current IP address if configured for “Auto (DHCP)”, or allows entry of a static IP address when config- ured for “Manual”.
Page 107 SECTION 14 | SYSTEM OPTIONS Click “Set” to confirm the values, then click “Options” to return to the main options page, or click “Ping/Tracer- oute” to access network diagnostic tools. Network Tools From the “Network Configuration” screen, click “Ping/Traceroute” to access the “Network Tools” interface. This screen provides ping and traceroute tools for network diagnostic purposes.
Page 108: Software Update
SECTION 14 | SYSTEM OPTIONS Traceroute Enter the address of the desired host to traceroute, and click “Run”. The results will be displayed in the window. Click “Options” to return to the main options screen. Software Update Provides a mechanism for updating software and rebooting the R/2. There are two software “banks” on R/2, only one of which is active at any given time, while the other is available to receive a software update.
Page 109: Logging
SECTION 15 | Logging Overview The R/2 contains a comprehensive logging system, designed to provide assistance in troubleshooting a variety of conditions. These logs can be extremely valuable both to the user, and to technical support. Media Encoder Logs Contains diagnostic logging information for the various media encoders, audio interfaces, and other routines such as NTP.
Page 110 SECTION 15 | LOGGING Service Manager Logs Contains diagnostic information about the various services running in the background within R/2 (such as the web interface, etc.) 22:27:22.423: Info: ProcManager(‘WebIfc’): info(‘> GET /v2/network_ adapters.json’) 22:27:27.427: Info: ProcManager(‘WebIfc’): info(‘> GET /v2/ipv4.json’) 22:27:33.433: Info: ProcManager(‘WebIfc’): info(‘> GET /v2/options. json’) 22:27:33.433: Info: ProcManager(‘WebIfc’): info(‘>...
Page 111: Omnia.9 Processing Setup
Omnia.9 Processing Setup Overview The Omnia.9 audio processing is an option available for Z/IPStream R/2. It features a wide array of unique tools including our exclusive “Undo” technology and 6-band parametric EQ. Due to the wide range of parameters and processing options, Omnia.9 provides access to the settings through its own custom application, called NfRemote.
Page 112 SECTION 16 | OMNIA.9 PROCESSING SETUP Using the NfRemote Client Software Understanding the NfRemote Connection Window NfRemote is designed to make remote connections as easy as possible. As you can see, it is possible to connect to any number of NfRemote capable processors individually or concurrently. NfRemote compatible processors include R/2 with Omnia.9, 9/XE software, 9X/2 software, Omnia.9 and Omnia.7 broadcast processors, as well as Linear Acoustic AERO.10/100/1000/2000/soft processors.
Page 113 IP Address Should contain the IP address of the Z/IPStream R/2. Password Should contain the same password established in the Z/IPStream R/2 application. Audio Streaming It is possible to stream audio from R/2 directly through NfRemote. The “Audio Streaming” dropdown menu enables this feature and determines the type of data compression used to deliver the audio as well as the oscillo- scope, RTA, and FFT display information.
Page 114 SECTION 16 | OMNIA.9 PROCESSING SETUP Update Refreshes the list of saved connections. Delete Will remove the selected connection from the list. Move Up/Down Will move the selected connection up or down respectively in the list so that you can sort them in any order. User Interface Pointing Device Offers several choices for optimizing NfRemote depending upon the type of device you are using: Local Mouse or Touchpad...
Page 115 SECTION 16 | OMNIA.9 PROCESSING SETUP Client-Only Controls The NfRemote interface looks nearly identical to Omnia 9’s window display, and will be described in another section, below. Therefore, only those controls or features unique to the client software will be explained here. Client Audio If bandwidth permits, or if Audio Streaming is forced, additional menu items related to client audio output will be available.
Page 116 SECTION 16 | OMNIA.9 PROCESSING SETUP NfRemote Home Screen and User Interface Opening NfRemote displays the user interface which is divided into four basic sections: The Menu Bar, the Display Windows, the Navigation Bar, and the Controls for the current menu. The Menu Bar The Menu Bar is visible at the top of every screen.
Page 117 SECTION 16 | OMNIA.9 PROCESSING SETUP Forward/Back arrows (Tree Navigation Mode) Moves forward or backwards between the most recently selected control pages. Tabbed Navigation For “expert” navigation—Displays multiple “tabs” simultaneously for quicker navigation between various control pages. Lock Position Makes the window non-moveable and secures it in its current position on the screen. This is especially handy on a touch-screen device if you prefer not to maximize the window.
Page 118 SECTION 16 | OMNIA.9 PROCESSING SETUP “Tree” Navigation Mode The “Tree” mode is the default. In this mode: The top portion of the screen is devoted to the display windows. ♦ The bottom portion of the screen shows the buttons or controls for the current tier. ♦...
Page 119 SECTION 16 | OMNIA.9 PROCESSING SETUP “Tabbed” Navigation Mode Clicking on the Menu button and selecting “Tabbed Navigation” allows more direct control by displaying more information at once. In this mode: The navigation bar and arrows are eliminated. ♦ The top portion of the screen is devoted to the display windows. ♦...
Page 120 SECTION 16 | OMNIA.9 PROCESSING SETUP Processing Metering Understanding the Processing Meters Display The processing meter display provides a tremendous amount of information about what’s going on inside the Omnia.9 processing, but in a very efficient and easy-to-read manner. The ITU BS.1770 Input meters indicate the level of the unprocessed source audio coming into each station ♦...
Page 121 SECTION 16 | OMNIA.9 PROCESSING SETUP The Multiband Stereo Enhancer meters will be displayed if the current preset employs this feature. Yellow ♦ bars extending from the middle outward toward the left and right of the display indicate a widening of the stereo image.
Page 122 SECTION 16 | OMNIA.9 PROCESSING SETUP Making Audio Better—One Square Wave at a Time: Undo What Exactly Is Undo? In order to understand how to best use Undo, it is helpful to understand exactly what it is and how it works. Undo is actually two separate processes - a de-clipper and a multiband expander –...
Page 123 SECTION 16 | OMNIA.9 PROCESSING SETUP Undo Menu From the main Undo menu, you can load and save Undo presets, enable and disable the de-clipper or multiband expander, choose which functions are displayed in the Undo meter window, adjust the amount of de-clipping, adjust the dynamics detector’s ratio, weighting, and peak settings, and set the expander’s levels, rates, and ratios.
Page 124 SECTION 16 | OMNIA.9 PROCESSING SETUP Load Preset Menu The Load Preset menu allows you view the Undo preset currently on the air, toggle back and forth between the current and backup presets, load a new preset, compare the settings of two presets, and delete user presets. Highlighting a preset from the list places it in the Load button.
Page 125 SECTION 16 | OMNIA.9 PROCESSING SETUP You can rename your current preset, regardless of whether or not is has been modified, by clicking in the field. Type in the new name, and select Save Preset. The new preset will now appear in the list. If your Current Preset has been modified, you also have the option to write over the existing preset without renaming it by selecting Save Preset.
Page 126 SECTION 16 | OMNIA.9 PROCESSING SETUP Undo Main Menu The Undo Main menu contains the controls to enable and disable Undo, to bypass Undo, and to enable and disable the de-clipper and multiband expander independently. Power Turns Undo completely on and off. Turning it off reduces latency and CPU load. Bypass Removes both the de-clipper and expander from the audio path but the Undo process itself continues to operate.
Page 127 SECTION 16 | OMNIA.9 PROCESSING SETUP When enabled, the Show Dynamics Detector Meters, Show Expander Ratio Meters, Show Speed Governor Meters, and Show Expander Threshold Meters allow the associated meters for each respective section to be displayed in the Undo Meters window. De-clipper Menu The De-clipper menu contains a single control to set the level of de-clipping in 5 stages.
Page 128 SECTION 16 | OMNIA.9 PROCESSING SETUP The most effective way to monitor exactly what the de-clipper is doing is to view the pre-de-clipper and post-de- clipper waveforms side-by-side using Omnia 9’s built-in oscilloscopes. Density Detector Band Weighting Each band of Undo’s expander has a corresponding density detector. The Density Detector Band Weighting controls allow you to determine how much control each detector provides its own band as well as any other expander band.
Page 129 SECTION 16 | OMNIA.9 PROCESSING SETUP Dynamics Detector to Ratio Menu The Dynamics Detector to Ratio menu allows you to set time constants of the expansion ratio adjustment as well as the Expansion Start levels and Transition Width levels for each of the 5 bands of Undo’s multiband expander. The Attack and Release controls for each band determines how quickly the expansion ratio will track along with the dynamic detector settings.
Page 130 SECTION 16 | OMNIA.9 PROCESSING SETUP Peak Detector Menu Undo measures audio peaks as a means by which to set the expander thresholds based upon the incoming program audio. The Peak Detector Menu controls the attack and release speed of each band of Undo’s Peak Detectors. The Attack speed controls determine how quickly Undo reacts to incoming audio peaks.
Page 131 SECTION 16 | OMNIA.9 PROCESSING SETUP Expander Levels Menu The Expander Levels menu gives you access to the Relative Threshold, Band<Wideband Distance Limit, and Maximum Gain controls of each band of Undo’s expanders. The Relative Threshold control for each band determines how far below the currently detected peak the expander threshold sits.
Page 132 SECTION 16 | OMNIA.9 PROCESSING SETUP Expander Rates Menu The Expander Rates menu provides controls for the attack and release speeds of the expanders for each band as well as attack and release speed controls for each band’s speed governors. The Expander Attack speed control determines how quickly each band’s expander will rise when the audio is in need of expansion.
Page 133 SECTION 16 | OMNIA.9 PROCESSING SETUP Expander Ratios Menu Each Undo expander band can operate in a range of ratios between 1:1 and 4:1. The Minimum Ratio and Maximum Ratio determine the absolute minimum and maximum ratios, respectively, for each band. There are three additional meters in the Undo metering window for audio levels at the input to Undo, after the de-clipper but before the multiband expanders, and at the output of Undo following the de-clipper and expanders.
Page 134 SECTION 16 | OMNIA.9 PROCESSING SETUP Load Preset The Load Preset controls found here work in the same manner as those in the Undo menu except that they load the processing presets. In addition, presets can be categorized and located by “tags”. Save Preset Menu You can rename your current preset, regardless of whether or not is has been modified, by clicking in the field.
Page 135 SECTION 16 | OMNIA.9 PROCESSING SETUP Preset Protection Menu The Preset Protection Menu allows you to password protect a preset so that it cannot be modified or copied. In addition, the settings for this preset will be hidden from view as long as the preset is locked. To password protect a preset, enter a password, click on “OK,”...
Page 136 SECTION 16 | OMNIA.9 PROCESSING SETUP Downward Expanders Menu The Downward Expanders menu allows you to control the maximum gain reduction (downward expansion) for all bands in the Downward Expanders section as well as the threshold, attack and release speeds for each individual band.
Page 137 SECTION 16 | OMNIA.9 PROCESSING SETUP The Release control determines the speed with which the Downward Expanders act to return gain to each band when the program audio rises above threshold. Lower settings provide slower release speeds, while higher settings result in faster release speeds.
Page 138 SECTION 16 | OMNIA.9 PROCESSING SETUP The Release control determines the speed with which the Input AGC increases audio below threshold. Lower settings provide slower release speeds, while higher settings result in faster release speeds. The Target control sets the target output level of the Input AGC. A lower setting results in a lower output level, while higher settings provide a higher output level.
Page 139 SECTION 16 | OMNIA.9 PROCESSING SETUP Note: You can see a visual representation of the sidechain EQ curve in a display window using Omnia 9’s built-in RTA. Wideband AGC1 Menu The Wideband AGC1 menu provides access to the sidechain delay, maximum gain, maximum gain reduction, ratio, attack, release, progressive release, target, gate threshold, freeze threshold, and three band sidechain parametric equalizer controls.
Page 140 SECTION 16 | OMNIA.9 PROCESSING SETUP at a faster rate as the audio is driven further toward or into gain reduction. At a setting of 0, the control has no effect and the Release speed control fully determines the rate of release. Increasing the setting progressively makes the release speed of the audio faster as gain decreases.
Page 141 SECTION 16 | OMNIA.9 PROCESSING SETUP Parametric Equalizer Menu The Parametric Equalizer menu allows you to set up the 6-band phase-linear parametric equalizer, which is located just ahead of the multiband section of the processing core. In addition, an assortment of pre-configured filters are available, including a Low Pass Filter, a High Pass Filter, a Band Pass Filter, a Notch Filter, a Low Shelf EQ, and a High Shelf EQ.
Page 142 SECTION 16 | OMNIA.9 PROCESSING SETUP Stereo Enhancer Menu Omnia 9 offers a unique multi-band Stereo Enhancer, whose total number of bands is determined by the number of bands of processing used in the Current Preset. Regardless, it never works on bass, which is why Band 1 is never represented and Band 2 may be grayed out.
Page 143 SECTION 16 | OMNIA.9 PROCESSING SETUP Speed Attack Determines the speed at which the stereo image is narrowed. Release Determines the speed at which the stereo image is widened. The Target Width (coupled), Maximum Gain (coupled), Maximum Attenuation (coupled), Attack (coupled) and Release (coupled) controls allow you to adjust all the bands simultaneously by an equal amount in their corresponding sections.
Page 144 SECTION 16 | OMNIA.9 PROCESSING SETUP Note: Setting the Gate Delay much lower than the default setting of 79ms will cause the gate to take effect during the brief pauses in dry speech, resulting in a much lower volume level from an announcer mic, for instance, as compared to music.
Page 145 SECTION 16 | OMNIA.9 PROCESSING SETUP Multiband AGC Levels The AGC Target controls set the target output level of each band of the Multiband AGC. A lower setting provides a lower output level, while a higher setting provides a higher output level. The Band Mix controls allow you to adjust the final output of each band after all Wideband and Multiband process- ing has been applied and are duplicates of those found in the separate Band Mix menu.
Page 146 SECTION 16 | OMNIA.9 PROCESSING SETUP Multiband AGC Speed The Multiband AGC Speed section lets you control the Attack Speed and Release Speed of each band in the multiband AGC section. The Attack speed and Release speed controls work in the same manner as their counterparts in the other sections of the Omnia.9.
Page 147 SECTION 16 | OMNIA.9 PROCESSING SETUP Multiband AGC Ratio Override The Gain Reduction Ratio Override and Gain Reduction Ratio controls work together to let you set a different ratio for each band when audio in that band crosses above threshold – that is, when it is driven into gain reduction. The ratio for audio below threshold is always determined by the Ratio control for all bands.
Page 148 SECTION 16 | OMNIA.9 PROCESSING SETUP Multiband Compression – Speed Controls the speed at which the multiband compressors operate. These functions operate identically to the functions described earlier in the multiband AGC section. Multiband Compression – Delay The Sidechain Delay feature is useful for both adding punch and managing the amount power within a particular band (especially low frequency bands).
Page 149 SECTION 16 | OMNIA.9 PROCESSING SETUP Multiband Thresholds Menu The Multiband Thresholds menu allows you to set the target for each of the Multiband AGC bands as well as the threshold for each band of the Multiband Limiters. The total number of bands available in the Multiband Thresh- olds section is determined by the number of bands of processing used in the Current Preset.
Page 150 SECTION 16 | OMNIA.9 PROCESSING SETUP Setting the Speech control to “Off” completely disables the speech detection circuit. “Auto” allows the processor to automatically detect the presence of speech. “Force” overrides the main multiband settings and uses the Speech Detection settings (as determined in the current preset) at all times. The default setting depends upon preset chosen;...
Page 151 SECTION 16 | OMNIA.9 PROCESSING SETUP Wet Voice – Comp Speed Controls the attack and release thresholds for the multiband compression when speech is detected. Wet Voice – Comp Target Controls multiband compression target threshold values when speech is detected. Wet Voice –...
Page 152 SECTION 16 | OMNIA.9 PROCESSING SETUP Wideband AGC2 Menu The Wideband AGC2 control allows you to insert one additional AGC processing stage into the chain as outlined in detail below. The Wideband AGC2 menu provides access to the transient enhance, maximum gain, maximum gain reduction, ratio, attack, release, progressive release, target, gate threshold, freeze threshold, and three-band sidechain parametric equalizer controls.
Page 153 SECTION 16 | OMNIA.9 PROCESSING SETUP Wideband AGC3 Menu The Wideband AGC3 menu operates in the same manner as Wideband AGC2, with all of the same controls, but with one difference: It cannot be used as a wideband compressor before the multiband section, only after. It can, however, be used in the Bass Only or Bass Wideband mode just like Wideband AGC2.
Page 154 SECTION 16 | OMNIA.9 PROCESSING SETUP Band Mix Menu The Band Mix Menu allows you to adjust the final output of each band after all Wideband and Multiband processing has been applied. It can be used very effectively to tailor the overall spectral balance of your sound, but keep in mind that this is the final point of adjustment before the audio reaches the Final Limiter.
Page 155 SECTION 16 | OMNIA.9 PROCESSING SETUP Slope 1+2 is simply Slope 1 followed by Slope 2. Most of the low bass will be controlled by Slope 1 and stay nice and clean, while the remaining bass will be taken care of by Slope 2 without affecting the low bass. If you are using heavier overall processing, this option will give you the cleanest sound.
Page 156 OMNIA.9 PROCESSING SETUP Factory Presets The Omnia.9 audio processor included with Z/IPStream R/2 contains a good assortment of factory presets from the Omnia.9 hardware processor created by a handful of folks who are deeply passionate about audio processing and have extensive experience with the product.
Page 157 SECTION 16 | OMNIA.9 PROCESSING SETUP Big Iron – by Jesse Graffam “Big Iron” is a 4-band preset dedicated to the glory days of radio and emulates the characteristics of such notable compressors as the ART VLA and the Dorrough DAP 310. It provides a warm, open, vocal sound and won’t attempt to aggressively re-equalize the original spectral balance of the source material.
Page 158 SECTION 16 | OMNIA.9 PROCESSING SETUP Helix – by Jesse Graffam “Helix” is a 7-band preset that sports a smiley-face EQ curve to deliver a solid low end and sparkling highs, but still provides a nice open mid-range sound. This preset uses the maximum amount of multiband range, an Infinite:1 multi-band ratio, and a fair amount of high-frequency limiting to deeply re-equalize and re-balance virtually any input.
Page 159 SECTION 16 | OMNIA.9 PROCESSING SETUP Orlando – by Jim Kuzman Smooth and laid back but far from being too quiet, this 7-band preset provides gentle re-equalization from the multi-band AGC while still maintaining some of the character of the original audio. “Orlando” is competitively loud when fed more contemporary music, but very suitable for jazz and classical stations that desire better spectral balance than the preset designed specifically for those types of music.
Page 160 SECTION 16 | OMNIA.9 PROCESSING SETUP Reference Settings - by Leif Claesson “Reference Settings” is the most neutral-sounding factory preset but that does not diminish its suitability for a wide variety of formats. It is the default preset for Omnia 9 It has been used with only slight modifications on active rock stations in very “loud”...
Page 161 SECTION 16 | OMNIA.9 PROCESSING SETUP Trinity – by Leif Claesson Inspired by the sound of the classic Omnia 3 FM Turbo, this 3-band preset is dynamic and punchy with and open mid-range and a more classic “Omnia” sound. “Trinity” doesn’t use any parametric EQ or stereo enhancement, runs with a very light ratio in the multi-band section, and presents itself very transparently on the air, making it suitable for nearly any format.
Page 162: Frequently Asked Questions (Faq)
SECTION 17 | Frequently Asked Questions (FAQ) Q: Do I really need to use the included rails for mounting R/2 in the rack? A: Not necessarily, but it does keep strain off the front panel and makes it easier to mount in the rack. If you don’t want to use the rails, you might still want to consider placing an inverted rack shelf underneath R/2 for support.
Page 163 Q: How can I add Omnia.9 processing or additional audio sources to my R/2? A: Contact sales or your favorite Telos/Omnia dealer to license additional sources (see Chapter 12 for license management). Up to 8 audio sources are supported on R/2, each with included Omnia 3 processing or optional Omnia.9 processing.
Page 164: Specifications
SECTION 18 | Specifications Processing Includes up to 8 instances of standard 3-band Omnia processing or full Omnia.9 processing with up to 7 bands of processing. Stream encoding Each channel supports AAC-LC, HE-AAC, HE-AAC v2, and MP3 encoding at bitrates from 16 kbps up to 320 kbps (depending on codec).
Page 165 SECTION 18 | SPECIFICATIONS Power Requirements Dual power supplies, each rated at 100-264 VAC, 50/60Hz, auto-sensing, 100W max. total. Dimensions and Weight One rack unit- 1.75”H x 19”W x 15.5”D (44 x 483 x 394 mm) Net weight: 9 lbs (4 kg); shipping: 12 lbs (5.4 kg) approximate.
Page 166: Telos Alliance Limited Warranty
“Receipt Date”). Software-only items are warranted to be free from defects in material and workman- ship for a period of 90 days from the Receipt Date. Telos will repair or replace (in its discretion) defective Products returned to Telos within the warranty period, subject to the provisions and limitations set forth herein.
Page 167 No distributor, dealer, or reseller of Telos products is authorized under any circumstances to extend, expand or otherwise modify in any way the warranty provided by Telos, and any attempt to do so is null and void and shall not be effective as against Telos or its Affiliates.