An Important Word About Time Delay - Omnia ONE Installation And Operation Manual

relative to the gain setting of the left channel.
 To return to the top level of the Main Menu, rotate the jog-wheel to highlight <-Exit and click. Repeat until
the top level (Main Menu) is reached.
All of the Omnia.ONE's software parameters are set in a similar fashion using the jog-wheel to scroll through menu
items. Clicking a highlighted item selects it; when that item is a control, the jog-wheel adjusts the value or level.
Clicking accepts the value or level and returns the jog-wheel to Select Mode.
Note: Altering any processing or gain parameter will instantly be reflected in a change in the Omnia.ONE's output
characteristics because adjustments occur in real time. Therefore any adjustments you make will be instantly heard
as they occur.

An Important Word about Time Delay

A question commonly asked about Omnias is "How much time delay does it have?" The answer: "Not enough to
drive your DJ's crazy!"
Certainly, there is reason for concern about the propagation delay through any digital transmission device, audio
processors included. We have measured the propagation time delay, the amount of time it takes for the audio signal
to travel from the analog input of Omnia.ONE to the output at approximately 7.7ms for the FM Style when using
AES/EBU digital I/O, about 9.2ms when using analog I/O. This is enough for a slight voice-character coloration to
be audible to the person speaking, but usually not enough to be a problem for talent monitoring off the air.
The delay through the AM style is about 7.0ms(digital I/O) 8.5ms(analog I/O) and the delay through the Multicast
style is about 7.6ms using digital I/O and 9.1ms using analog I/O.
For the Studio Pro style, please see the "Delay Throughput" section in the Studio Pro Style section of Chapter 3. The
Studio Pro style was designed to minimize the delay throughput by allowing the bypassing of the Bass EQ and Final
Limiter sections.
If there is additional delay added to the system, such as that added by certain types of Digital STL, the cumulative
delay may become excessive and cause discomfort for the on-air talent.
Real-world tests conducted by Jeff Goode in Indianapolis determined that a slight echo may begin to be heard at 10-
15ms, and that anything above 25-30 ms is usually too annoying to talent for monitoring off-air.
12