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Related Manuals for Omnia Stereo Audio Processor
Summary of Contents for Omnia Stereo Audio Processor
- Page 1 Omnia ONE Stereo Audio Processor Installation and Operation Manual Revised: August 2010 Applicable to All Software Styles Software Version 2.2 or higher Omnia ● 1241 Superior Avenue East, Cleveland, Ohio 44114 USA TEL: +1 216.241.7225 ● FAX: +1 216.241.4103 ● www.omniaaudio.com...
- Page 3 This manual was assembled by a dedicated team of specialists who were instrumental in the development of our newest product, Omnia ONE. This is our next step in the never-ending quest to build the best signal processor in the world. Considerably more powerful than what its small package implies, Omnia ONE possesses new hardware and algorithm capabilities that even exceed its predecessors.
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Page 5: Omnia One Quick-Start Setup
Main Menu / G/R Metering LCD Display Level Meters Install the Omnia ONE in the equipment rack using at least two rack screws. If only two screws are used, they MUST be installed in the bottom holes of the rack ears! Connect AC power to the unit (there is no power switch!) Connect the audio inputs that are appropriate for your installation. -
Page 6: Table Of Contents
RS-232 Modem Connection (DB-9M)* ................5 General Purpose Interface (GPI) (DB-9F)* ................ 6 Powering Up ...........................6 Chapter-2: Getting To Know Your Omnia ONE................7 The Omnia ONE User Interface ...................7 Headphone Level Control ....................7 Level Meters & Processing Bargraphs ................7 Audio I/O Level Display ..................... - Page 7 AM Style ..........................17 Using Omnia ONE AM with Early PWM Transmitters ........... 17 The Factory Presets ......................17 Increasing Density/Loudness .................... 19 Adding More Detail — When Loudness Isn’t the Last Word .......... 19 Air-Sound Equalization Changes ..................20 Thunder Bass ........................20 Multicast/DAB Style ......................21...
- Page 8 Mid Band Limiter ......................38 Presence Band Limiter ....................38 High Band Limiter ......................38 Bass Clipper ........................38 Mixer ..........................39 Clipper..........................40 AM Style .......................... 41 Pre-processing ........................42 Wideband AGC (Automatic Gain Control) ..............42 Enhancers ........................43 Xover (Crossover) ......................44 Low Band AGC ......................45 Mid Band AGC ......................45 Pres Band AGC (Presence Band AGC) .................45 High Band AGC ......................46 Low Band Limiter ......................46...
- Page 9 Studio Pro Style ....................... 60 <-Exit ..........................60 Pre-processing ........................60 Wideband AGC (Automatic Gain Control) ..............60 Enhancers ........................61 Xover (Crossover) ......................62 Low Band AGC ......................63 Mid Band AGC ......................64 Pres Band AGC (Presence Band AGC) .................64 High Band AGC ......................64 Low Band Limiter ......................64 Mid Band Limiter ......................65 Presence Band Limiter ....................65 High Band Limiter ......................65...
- Page 10 Appendix A: Performance Specifications ..................83 Omnia ONE FM ........................83 Omnia ONE AM ........................87 Omnia ONE Multicast/DAB & Studio Pro................90 Appendix B: Troubleshooting/Service/Warranty ..............93 Diagnostics and Error Messages..................94 Electrical and mechanical safety note! ................95 Narrowing down problems ....................95 Obtaining Service .........................96...
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Page 11: S A F E T Y
S A F E T Y I N S T R U C T I O N S Read All Instructions. All safety and operating 14. Object and Liquid Entry. Never push objects of any instructions must be read before operating the kind into this product through openings as they may product. -
Page 12: Hazard / Warning Labels
HAZARD / WARNING LABELS The Exclamation Point symbol, within an equilateral triangle, alerts the user to the presence of important operating and maintenance (servicing) instructions in product literature and instruction manuals. The Lightning Flash With Arrowhead symbol, within an equilateral triangle, alerts the user to the presence of non-insulated dangerous voltages within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock. - Page 13 European market of new electrical and electronic equipment containing more than agreed levels of lead, cadmium, mercury, hexavalent chromium, polybrominated biphenyl (PBB) and polybrominated diphenyl ether (PBDE) flame retardants. Omnia ONE FM is in compliance with the EU RoHS Directive.
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Page 14: Manual Update Notification
Manual Update Notification Audio Processing – a unique art form that we take very seriously! As part of our dedication to the science of audio processing we will continue to improve and update the Omnia product and its documentation based on our ongoing research, real-world field experience, and the valued input from our many thousands of loyal customers. -
Page 15: Chapter-1: Installation
About This Manual This manual is now written to cover all 4 styles of the Omnia ONE. This chapter will cover only general installation topics. Topics unique to a specific style are covered in style-specific sections within Chapters 3 and 4. The latest version of this manual is always available for download from the Omnia website here: http://www.omniaaudio.com/support/manuals.htm... -
Page 16: Installation & Connections
Rack Mounting & Grounding The Omnia ONE requires one RU (1.75" [44.45 mm]) of rack space. Rack mount the unit using four rack screws. If only two screws are going to be used, they should be in the bottom holes in the Omnia front panel. No other two-... -
Page 17: Rear Panel Connections
A Note about Relative Phase: If the relative phase of your installation (including the Omnia ONE) differs from that of your existing system, your announcers may feel that they sound “weird” in their headphones. If this occurs, then the relative phase of the processor is 180 degrees from what your air talent is used to. -
Page 18: 19 Khz Sync Output (Bnc) (Active On Fm Style Only)
SCA Input (BNC) (Active on FM Style Only) Any SCA or RDS signal above 53 kHz can be added to the composite outputs of the Omnia ONE by connecting the signal to the SCA INPUT connector. The SCA signal is mixed in the analog domain directly into both composite outputs. -
Page 19: Ethernet / Livewire Connection
232 connector of the Omnia and the external modem. Typically this would be 9-pin to 25-pin cable. (External modems traditionally have 25 pin connectors in "DCE" configuration. The Omnia ONE has a 9 pin in "DTE" configuration, so the standard 9-pin to 25-pin cable will work). -
Page 20: General Purpose Interface (Gpi) (Db-9F)
(There is no power switch!) When the Omnia ONE is first powered on, audio will appear at the analog audio outputs in approximately ten seconds. The AES/EBU and Livewire outputs also become usable at this time however full initialization of the digital ports is not complete for several more seconds and a small audio glitch may be heard when the final sample rate converter initialization is complete. -
Page 21: Chapter-2: Getting To Know Your Omnia One
The Omnia ONE User Interface Now that your Omnia ONE is rack-mounted, connected to a program audio source, and turned on, you’re ready to learn how to operate it! This chapter covers the Front Panel User Interface, your window into the Omnia ONE processor. -
Page 22: Audio I/O Level Display
AGC, Limiter and Clipper sections within the Omnia ONE. (varies with style) If the “Menu Display” is currently showing on the Omnia ONE’s LCD screen, press and hold the jog-wheel for two seconds to switch to the processing meter display as shown below. -
Page 23: Main Menu
Main Menu The Omnia ONE menu system has been designed to be intuitive and simple to use. Most operating parameters can be found under one of the menu headings and sub-headings, allowing adjustments to be made quickly and with ease. -
Page 24: Using The Jog Wheel
Using the Jog Wheel The main user control for the Omnia ONE is the easy to use jog wheel with its integral push-switch. Using the control is both intuitive and efficient, making it easy to navigate the menu structure of the Omnia ONE. Processing changes and system adjustments can be quickly made with ease without having to remember multiple controls, their positions, and what they do in each menu. -
Page 25: User Interface Tutorial - Input Source Selection And Peak Level Setting
(less headroom) is strongly discouraged unless there is another level-control device prior to the Omnia ONE that will keep the input levels from reaching the maximum digital level of 0 dBFS. During normal operation, you should never see the red “0” segments light. -
Page 26: An Important Word About Time Delay
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. -
Page 27: Chapter-3: Getting The Sound You Want
Chapter-3: Getting the Sound You Want This chapter is divided into four sections, one each for the 4 different Omnia ONE styles, beginning with the FM style below. Please refer to the section that applies to the style your Omnia ONE is running:... -
Page 28: Increasing Density/Loudness
In many cases it’s not just about increasing the drive to the limiters. Instead, it can be as non-intuitive as creating the illusion of greater loudness by changing something simple – like a time constant. Sometimes the old adage of less is more really applies! Please give the following content some thought as it may assist you in developing an overall fine-tuning plan if you feel changes beyond our factory presets are justified. -
Page 29: Adding More Detail - When Loudness Isn't The Last Word
Increase the Drive to the clipper sections. A combination of all of the above (yes, it sounds crazy but it’s true)! Always resist the temptation to make too many changes at once because it then becomes difficult to determine why, or why not, an adjustment made the change you hear. -
Page 30: Thunder Bass
Thunder Bass Omnia ONE FM has the power to shake the walls with low end! If your source material has it, Omnia ONE FM can expose that deep bass and do it with muscle! Tailoring Thunder Bass for more dominance is simple, and is done by adjusting the following parameters and in the order listed: 1. -
Page 31: Am Style
Omnia had in three! This chapter explains generally how to alter the sound of the Omnia ONE AM using the factory presets, and if desired, using the controls explained in the Adjust Processing section of Chapter 4, to alter those presets and create custom user presets. - Page 32 / antenna system should be as “state of the art” as possible for maximum benefit. The Omnia ONE AM is definitely capable of generating moment-to-moment loudness; it has the muscle. It also maintains that famous Omnia clarity sought after by top programmers all over the world.
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Page 33: Increasing Density/Loudness
Listen critically before making more adjustments. Increasing Density/Loudness Try to resist the temptation to crank up the aggressive processing sections. They will definitely add loudness but usually at the cost of quality and intelligibility. Many times, just building a bit more RMS energy in the AGC sections will do the trick. -
Page 34: Air-Sound Equalization Changes
Thunder Bass Omnia ONE AM has the power to shake the walls with low end! If your source material has it, Omnia ONE AM can expose that deep bass and do it with muscle! Tailoring Thunder Bass for more dominance is simple, and is done by adjusting the following parameters and in the order listed: 1. -
Page 35: Multicast/Dab Style
(or too expensive) to do in the past. Running on a platform of the latest high power DSP chips, the Omnia ONE and our new Sensus technology takes digital dynamics processing into a completely new frontier. -
Page 36: Omnia One Multicast And Hd Radio
In other words, what you hear at the output of the Omnia ONE Multicast will bear no relationship to the audio quality that will be achieved after the audio has passed through the coding process! -
Page 37: Loudness Processing And Codecs
It’s like trying to taste a pizza while still in the grocery store and staring at the raw ingredients that haven’t been purchased yet. Thank you for selecting the incredible Omnia ONE Multicast Audio Processor. Your continued patronage and support are appreciated. -
Page 38: Increasing Density/Loudness
“breathing,” “dense,” or “mushy.” It can even induce exaggerated “swish/swirl” artifacts from the codec. Please remember that the core objective of the Omnia ONE Multicast product is maximum intelligibility at low bitrates and processing that creates heavy density can completely mask that effort. A codec provisioning processor is in quite a different role than a conventional on-air processor. -
Page 39: Adding More Detail-When Loudness Isn't The Last Word
The drawback to this kind of sound is that when taken to extremes, the excessive density can cause listener fatigue and add additional coding artifacts. While Omnia ONE Multicast is designed to minimize listener fatigue, when adjusted to do so it is capable of generating large amounts of density that could eventually lead to listener fatigue. -
Page 40: Thunder Bass
Thunder Bass Omnia ONE Multicast has the power to shake the walls with low end! If your source material has it, Omnia ONE Multicast can expose that deep bass and do it with muscle! Tailoring Thunder Bass for more dominance is simple, and is done by adjusting the following parameters and in the order listed: 1. -
Page 41: Studio Pro Style
Studio Pro Style Purpose The Omnia ONE Studio Pro was created for use in studio applications that do not require low-pass (high-cut) filtering or pre-emphasis, do not necessarily require precisely controlled peak output levels but may require minimizing the time delay through the unit (delay throughput). -
Page 42: Presets
Bass Enhancement Omnia ONE Studio Pro has the power to shake the walls with low end! If your source material has it, Omnia ONE Studio Pro can expose that deep bass and do it with muscle! Tailoring the bass is simple, and is done by adjusting the following parameters and in the order listed: Increase the amount of Bass boost in the Enhance section. -
Page 43: Chapter-4: Main Menu Selections
Preset Omnia ONE 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 to the right of Preset: on the top line of the Main Menu. -
Page 44: Save Preset
Save Preset This option saves any changes you have made to the currently running preset into the Omnia ONE’s non-volatile memory. Changes can be saved over an existing user preset (without renaming it) or as a new user preset with a new name. -
Page 45: Rename Preset
Click on this option to return to the Main Menu. Adjust Processing This submenu allows changes to be made in any of the Omnia ONE’s several dozen processing parameters. These adjustments alter the sound and texture of the audio. Due to differences between the Omnia ONE styles, each style will have its own section. -
Page 46: Fm Style
FM Style Here is a block diagram of the fully digital, DSP based processing stages within the Omnia ONE FM: The first processing stage is a Wideband AGC (Automatic Gain Control) for overall, automatic “hand on the pot” leveling to keep the following 4-Band stages in their “sweet spot”, followed by the Bass Enhancers (Deep Bass EQ and Phat Bass) and the Crossover (XO), which splits the audio into 4 bands for optimum processing in each of the Bass (L), Midrange (M), Presence (P) and Treble (H) frequency ranges. -
Page 47: Pre-Processing
Pre-processing HPF (High Pass Filter) The high pass (low cut) filter allows you to remove subsonic energy from the input audio prior to further processing. In so doing, intermodulation distortion performance of the processor and the audio path following it are improved, and processing resources are not wasted processing inaudible sounds that have no acoustically relevant information. -
Page 48: Enhancers
Gt Thresh (Gate Threshold) When the input audio falls below a certain level, the gain control action of the AGC stage is “frozen” by the gate. The level at which this freeze, or hold takes place is controlled by the setting of the Gate Threshold control. -
Page 49: Xover (Crossover)
Xover (Crossover) The crossover splits the audio signal into 4 independent bands to enable optimum processing for the bass (L), midrange (M), presence (P) and treble (H) frequency ranges. There are two four-band processing stages that share the same crossover. The crossover points are 180Hz, 1kHz and 3.7kHz. The first stage is the 4-Band AGC (Automatic Gain Control) stage. -
Page 50: Low Band Agc
Low Band AGC Attack The attack control adjusts how fast the AGC responds to sudden increases in audio level, and higher numbers equate to faster response times. Faster attack times reduce the transient nature of the input audio, while slower attack times improve it. Extremely slow attack times must be used with caution so as not to allow later stages to be overloaded during the time when the AGC is adjusting the level downwards. -
Page 51: Low Band Limiter
Low Band Limiter LFLim Drv (Low Frequency Limiter Drive) Adjusts the drive level to the individual Limiter band. Used when you desire more or less density in a specific band. These Limiter Drive controls can also be used as secondary dynamic EQ controls after the Drive controls in the AGC Xover. -
Page 52: High Band Limiter
limiter bargraph for that band. In fact, instead of reducing the output of one of the audio bands in the Final Mixer section, you could instead “dynamically reduce” the level in that band (which also increases density in that band) by lowering the limiter threshold. When adjustments are made to limiter thresholds, start by making adjustments in 0.5dB steps. - Page 53 Tight Clip When “ON”, this Bass Clipper style is a straightforward hard limiter that will create a deep, sub- harmonic effect to the audio. The drawback is that it can generate IM (intermodulation) distortion in the following main Clipper. When both the Girth Clip and Tight Clip settings are both set to “OFF”, the Bass Clipper is effectively bypassed.
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Page 54: Clipper
Clipper The Clipper is the Omnia ONE’s final limiting stage. Here is where the Omnia ONE’s loudness versus quality advantage is most evident! The main clipper is a very powerful algorithm, is highly over-sampled, and is fully anti- aliased. Clip Drive The Clip Drive control controls the depth of clipping in precise 0.1dB steps over a +/-6 dB range. - Page 55 AM Style Here is a block diagram of the fully digital, DSP-based processing stages within the Omnia ONE AM: The first processing stage is a Wideband AGC (Automatic Gain Control) for overall, automatic “hand on the pot” leveling to keep the following 4-Band stages in their “sweet spot”, followed by the Bass Enhancers (Deep Bass EQ and Phat Bass) and the Crossover (XO), which splits the audio into 4 bands for optimum processing in each of the Bass (L), Midrange (M), Presence (P) and Treble (H) frequency ranges.
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Page 56: Pre-Processing
Pre-processing HPF (High Pass Filter) The high pass (low cut) filter allows you to remove subsonic energy from the input audio prior to further processing. In so doing, intermodulation distortion performance of the processor and the audio path following it are improved, and processing resources are not wasted processing inaudible sounds that have no acoustically relevant information. -
Page 57: Enhancers
Gt Thresh (Gate Threshold) When the input audio falls below a certain level, the gain control action of the AGC stage is “frozen” by the gate. The level at which this freeze, or hold takes place is controlled by the setting of the Gate Threshold control. -
Page 58: Xover (Crossover)
[HF EQ] (High Frequency EQ) This control adds high-frequency boost that conforms to the NRSC pre-emphasis recommendation for AM broadcasting. Increasing HF EQ will add boost to the presence and treble range that follows a high frequency shelf network that is inserted before the multiband limiter section. If it is set to 10 dB, the boost at just below 10kHz will correspond to the NRSC curve. -
Page 59: Low Band Agc
limiters as “dynamic clipper allocators”, acting as “gatekeepers”, controlling the density of the audio signal that reaches the following clipper. <-Exit Click on this option to return to the Adjust Processing submenu. Low Band AGC Attack The attack control adjusts how fast the AGC responds to sudden increases in audio level, and higher numbers equate to faster response times. -
Page 60: High Band Agc
High Band AGC See description of settings for Low Band AGC Low Band Limiter LFLim Drv (Low Frequency Limiter Drive) Adjusts the drive level to the individual Limiter band. Used when you desire more or less density in a specific band. These Limiter Drive controls can also be used as secondary dynamic EQ controls after the Drive controls in the AGC Xover. -
Page 61: Mid Band Limiter
limiter bargraph for that band. In fact, instead of reducing the output of one of the audio bands in the Final Mixer section, you could instead “dynamically reduce” the level in that band (which also increases density in that band) by lowering the limiter threshold. When adjustments are made to limiter thresholds, start by making adjustments in 0.5dB steps. - Page 62 When both the Girth Clip and Tight Clip settings are both set to “OFF”, the Bass Clipper is effectively bypassed. Both algorithms can be “ON” at the same time but this is not recommended. Tight Clip When “ON”, this Bass Clipper style is a straightforward hard limiter that will create a deep, sub- harmonic effect to the audio.
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Page 63: Clipper
Click on this option to return to the Adjust Processing submenu. Clipper The Clipper is the Omnia ONE’s final limiting stage. Here is where the Omnia ONE’s loudness versus quality advantage is most evident! The main clipper is a very powerful algorithm, is highly over-sampled, and is fully anti- aliased. - Page 64 By starting with one of the factory presets (usually the one named closest to the primary programming and bitrate to be used on the channel the Omnia ONE Multicast is processing) and then altering it using the controls in the Processing menu, you may change the sound of a preset and then save it with your changes as a user preset for either immediate use or later recall.
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Page 65: Wideband Agc (Automatic Gain Control)
<-Exit Click on this option to return to the Processing menu. Pre-processing HPF (High Pass Filter) The high pass (low cut) filter allows you to remove subsonic energy from the input audio prior to further processing. In so doing, intermodulation distortion performance of the processor and the audio path following it are improved, and processing resources are not wasted processing inaudible sounds that have no acoustically relevant information. - Page 66 Gt Thresh (Gate Threshold) When the input audio falls below a certain level, the gain control action of the AGC stage is “frozen” by the gate. The level at which this freeze, or hold takes place is controlled by the setting of the Gate Threshold control.
- Page 67 Xover (Crossover) The crossover splits the audio signal into 4 independent bands to enable optimum processing for the bass (L), midrange (M), presence (P) and treble (H) frequency ranges. There are two four-band processing stages that share the same crossover. The crossover points are 180Hz, 1kHz and 3.7kHz. The first stage is the 4-Band AGC (Automatic Gain Control) stage.
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Page 68: Low Band Agc
Low Band AGC Attack The attack control adjusts how fast the AGC responds to sudden increases in audio level, and higher numbers equate to faster response times. Faster attack times reduce the transient nature of the input audio, while slower attack times improve it. Extremely slow attack times must be used with caution so as not to allow later stages to be overloaded during the time when the AGC is adjusting the level downwards. - Page 69 Low Band Limiter LFLim Drv (Low Frequency Limiter Drive) Adjusts the drive level to the individual Limiter band. Used when you desire more or less density in a specific band. These Limiter Drive controls can also be used as secondary dynamic EQ controls after the Drive controls in the AGC Xover.
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Page 70: High Band Limiter
The drawback is that it can generate intermodulation distortion in the Final Limiter and increase artifacts in the codec employed after the Omnia ONE Multicast. When both the Girth Clip and Tight Clip settings are both set to “OFF”, the Bass Clipper is effectively bypassed. - Page 71 Mixer Low Band Adjusts the output level of the low band limiter into the following Final Limiter stage. Higher numbers result in more low frequencies (bass) but too much mix level can make the following final limiter work unnecessarily hard. Mid Band Adjusts the output level of the mid band limiter into the following Final Limiter stage.
- Page 72 Click on this option to return to the Adjust Processing submenu. Final Limit The Omnia ONE Multicast employs a final look-ahead limiter to provide absolute precision peak control. This limiter has been designed to minimize processing side-effects like IM distortion, which are usually associated with limiters of this type.
- Page 73 AAC/SBR Output LPF Output LPF Output LPF 8kHz 6kHz 5kHz - 6kHz 24kbps 24kbps 24kbps 10kHz 6kHz 8kHz 32kbps 32kbps 32kbps 13kHz – 16kHz 48kbps 8kHz – 10kHz 48kbps 10kHz – 13kHz 48kbps 16kHz 10kHz – 16kHz 64kbps 13kHz – 16kHz 64kbps 64kbps !!!--- IMPORTANT NOTE ---!!!
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Page 74: Wideband Agc (Automatic Gain Control)
Studio Pro Style Here is a block diagram of the fully digital, DSP based processing stages within the Omnia ONE Studio Pro: <-Exit Click on this option to return to the Processing menu. Pre-processing HPF (High Pass Filter) The high pass (low cut) filter allows you to remove subsonic energy from the input audio prior to further processing. - Page 75 AGC Drv (AGC Drive) This control adjusts the amount of drive to the wideband AGC stage. Increasing the drive causes deeper compression to be achieved, and deeper compression allows quieter passages in the input audio to be raised further than if lesser drive (and less compression) was used. AGC Att (AGC Attack) The attack control adjusts how fast the AGC responds to sudden increases in audio level, and higher numbers equate to faster response times.
- Page 76 Phat Bass An Omnia exclusive, Phat Bass adds harmonic overtones to the lower bass frequencies. The addition of these overtones causes small speakers to seem to produce bass response that they are not actually capable of producing because the human brain equates the presence of low frequency harmonics to the missing fundamentals that the small speaker is unable to reproduce.
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Page 77: Low Band Agc
OV AGC Drv (Overall Multiband AGC Drive) Adjusts the overall amount of drive to all four bands of the 4-Band AGC section simultaneously over a + / - 6 dB range. Higher settings will increase the overall amount of compression and the “dynamic EQ”... -
Page 78: High Band Agc
RTZ Lvl (Return To Zero Level) This control adjusts the gain level to be achieved by the AGC section during lapses in audio. The primary purpose of RTZ is to prevent the AGC from increasing the gain unnecessarily during lapses in audio, which would result in an increase in noise level. <-Exit Click on this option to return to the Adjust Processing submenu. -
Page 79: High Band Limiter
Final Limiter without reducing the amount of perceived bass in the program material. Be careful! Too much clipping by the Bass Clipper can soften bass 'punch'. It may also be heard as a “rattling” sound in the bass or cause additional artifacts in the codec following the Omnia ONE Studio Pro. -
Page 80: Mixer
The drawback is that it can generate intermodulation distortion in the Final Limiter and increase artifacts in the codec employed after the Omnia ONE Studio Pro. When both the Girth Clip and Tight Clip settings are both set to “OFF”, the Bass Clipper is effectively bypassed. -
Page 81: Final Limit
Click on this option to return to the Adjust Processing submenu. Final Limit The Omnia ONE Studio Pro employs a defeatable final look-ahead limiter to provide absolute precision peak control. This limiter has been designed to minimize processing side-effects like IM distortion, which are usually associated with limiters of this type. -
Page 83: Input/Output
Input Src (Input Source) Allows the selection of Analog, AES/EBU (digital) or Livewire as the primary input source to the Omnia ONE. Fover Time (Failover Time) Failover Time is a feature that when set to a value other than zero (disabled) allows the Omnia ONE to automatically select another input source if the currently selected one fails. - Page 84 Anlg Level (Analog Level) Adjusts the master audio input level for the analog inputs, which are derived from the rear panel XLR female input connectors. (See on Page 11) Proper Setting of Input Levels Right Trim Allows a +/-3dB adjustment of the right analog audio channel gain to correct minor left/right balance problems in the input audio.
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Page 85: Output
Allows a +/-3dB adjustment of the right analog audio channel gain to correct minor left/right balance problems in equipment following the Omnia ONE. The left channel output gain is not affected by this control and is set using the master Analog Level control previously described. -
Page 86: Fm Options (Fm Style Only)
Allows a +/-3dB adjustment of the right digital audio channel gain to correct minor left/right balance problems in equipment following the Omnia ONE. The left channel output gain is not affected by this control and is set using the master AES Level control previously described. - Page 87 (STL). In these kinds of installations it is very important that the Omnia ONE FM is the ONLY device applying the pre-emphasis. All other equipment following the Omnia ONE FM must have their pre-emphasis disabled for optimum peak modulation control and sound quality.
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Page 88: Am Options (Am Style Only)
<-Exit Click on this option to return to the Output submenu <-Exit Click on this option to return to the Input/Output menu. AM Options (AM Style Only) <-Exit Click on this option to return to the Output submenu. Polarity Controls These controls adjust the polarity for each of the 2 analog outputs separately. - Page 89 [Tilt EQ] (Tilt Equalization) [Tilt Freq] (Tilt Frequency) Low frequency tilt and equalization controls have been provided after the Omnia ONE AM’s clipper section in order to compensate for certain design deficiencies in older transmitters. Particularly in plate modulated AM transmitters, interstage audio coupling transformers, interstage coupling capacitors, the modulation transformer and reactor, and the type of coupling between them, all contribute to low frequency tilt performance.
- Page 90 Navigate to the Omnia ONE’s Output Menu, and reduce the output levels to 0dBU on both Left and Right channels. Connect a sine wave Audio Oscillator to the Omnia ONE AM audio inputs. Set the oscillator to provide a 50 Hz, 0dBu output.
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Page 91: Livewire
Proper Tilt Equalization (or a transmitter that does not require it) Excessive Tilt Equalization <-Exit Click on this option to return to the Input/Output menu. Livewire There is but a single control in this submenu: Disable Livewire. If selected, you will be asked if you really want to disable Livewire. -
Page 92: Bypass
The Omnia ONE FM defaults to a setting of Stereo, using the full L-R signal. 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. -
Page 93: Save Io Config
Save IO Config I/O settings are those that affect the audio input and output configuration and allow correct interface with the rest of the airchain / external equipment. “Save IO Config” saves all user settings within the Input/Output menu to the system’s non- volatile memory as named configuration presets. -
Page 94: Delete Io Config
Several maintenance and utility functions are found in this submenu including various Security options to prevent tampering by unauthorized personnel, TCP/IP networking parameters and other system-wide parameters. About Presents a dialog displaying the Omnia ONE software style, firmware release version and front panel software version currently active in the unit. Contrast Adjusts the contrast of the front panel LCD display to optimize it for various viewing angles. -
Page 95: Reboot
Accepts data in the form of four octets to describe the Ipv4 gateway address assigned to the Omnia ONE’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 . -
Page 96: Lock Front Panel
Lock Front Panel This is a feature that enables you to lock the front panel in order to prevent inadvertent or unauthorized tampering with control settings and processing parameters. Access via user password is the only way to access the front panel menus when it has been locked via a user-assigned password. -
Page 97: Appendix A: Performance Specifications
Appendix A: Performance Specifications Omnia ONE FM As of June 2008 – Version 2.0 FM Software Note: Discrete I/O measurements have been made in "Bypass" mode (available in the Input/Output menu). FM composite measurements have been made using the "Proof_Perf"... - Page 98 Linear Crosstalk: > -80 dB, main to sub or sub to main channel (referenced to 100% modulation). Non-linear Crosstalk: > -80 dB, main to sub or sub to main channel (referenced to 100% modulation). 38 kHz Suppression: > 70 dB (referenced to 100% modulation). 76 kHz Suppression: >...
- Page 99 EMI-suppressed RJ-45 female pinned according to StudioHub+ Connector: standards. Transformer isolated, balanced, and floating according to AES3 standard. Digital Audio Output: Stereo per AES3 standard. Digital Output sample rate can lock to the input, lock to an additional external sync source, or use the internal 48kHz rate.
- Page 100 Power Requirements: Voltage: 100-250 VAC, 47-63 Hz., Less than 40 VA. Power Connector: EMI suppressed IEC male. Detachable 3-wire power cords supplied for US and European use. Power Supply: Internal. Overvoltage and short circuit protected. Meets EN55022, EN55011 Level B Conducted Emissions. EN61000-4-2, -3, -4, -5, -6 level 3 immunity compliant.
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Page 101: Omnia One Am
Omnia ONE AM As of April 2008 – Version 2.1 AM Software Note: Discrete I/O measurements have been made in "Bypass" mode (available in the Input/Output menu). Note: All measurements made with the supplied “FACT_TEST” preset, which is available in the Preset Submenu. - Page 102 Analog Audio Output: Left/Right Stereo. Electronically balanced. Output Impedance 20 ohms. Minimum load Impedance: 600 ohms. Output Level adjustable from -2 dBu to +22dBu peak in 0.1dB steps. D/A Conversion: Crystal Semiconductor CS4391, 24 bit, 128x oversampled. Two, EMI-suppressed XLR-male. Pin 1 chassis ground, Pin 2 “Hot". Connectors: Digital Audio Input: Configuration: Stereo per AES/EBU standard, CS8420 Digital Audio Transceiver with 24 bit resolution, software selection of stereo, mono...
- Page 103 --Modem (support not yet available as of software version 2.2): User- supplied Hayes command compatible external serial modem connected to rear-panel DB-9 male serial port. -- Ethernet: TCP/IP control via web page interface and Java (TM) remote control program included in the web pages. All software is served from the built-in web server;...
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Page 104: Omnia One Multicast/Dab & Studio Pro
Omnia ONE Multicast/DAB & Studio Pro As of February 2009 – Version 2.2 Multicast, DAB or Studio Pro Software Note: All measurements made using "Bypass" mode, which is available in the Input/Output menu. General Audio Specifications Frequency Response: ± 0.50 dB, 20 Hz to 20 kHz with high pass filter disabled. - Page 105 EMI-suppressed RJ-45 female pinned according to StudioHub+ Connector: standards. Transformer isolated, balanced, and floating according to AES3 standard. Digital Audio Output: Stereo per AES3 standard. Digital Output sample rate software selectable for internal 48kHz, synchronize to AES input, or synchronize to auxiliary AES sync input (per AES-11 / DARS).
- Page 106 Power Supply: Internal. Overvoltage and short circuit protected. Meets EN55022, EN55011 Level B Conducted Emissions. EN61000-4-2, -3, -4, -5, -6 level 3 immunity compliant. Full international safety approval. CE marked. Operating Temperature: 32 to 122 deg. F / 0 to 50 deg. C for all operating Environmental: voltage ranges.
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Page 107: Appendix B: Troubleshooting/Service/Warranty
RS-232 port, as well as viewing of any error messages that may be encountered. This chapter explains the various boot up and error messages that may be encountered while troubleshooting the unit. We'll cover some basic troubleshooting techniques for isolating possible Omnia ONE problems in the field, and also how to obtain help or repair service from Omnia. -
Page 108: Diagnostics And Error Messages
Diagnostics and Error Messages To run a system diagnostics check of the Omnia ONE unit that can be used by Telos/Omnia Customer Support personnel in case of difficulty with the unit, click on the “Factory Diagnostics” link option in the Utilities section at the bottom of the Configuration screen: A report similar to the below will be generated. -
Page 109: Electrical And Mechanical Safety Note
Omnia to operate in high RF environments. Narrowing down problems When actually troubleshooting your Omnia ONE, try to ascertain some preliminary information first before embarking on an in-depth problem-solving mission. Take time to carefully consider whether your unit falls into any of the following states: 1. -
Page 110: Obtaining Service
Obtaining Service • Before contacting Omnia Customer Support, please have the serial number of the unit (located on a barcode sticker on the rear panel in this format: 0220WXXXX) and a description of the symptoms/problems ready for the technician. • All units being returned to for service MUST have a Return Authorization (RA) number assigned to them first. -
Page 111: Warranty
Warranty This Warranty covers "the Products," which are defined as the various audio equipment, parts, software and accessories manufactured, sold and/or distributed by TLS Corp., d/b/a Omnia (hereinafter "Omnia"). With the exception of software-only items, the Products are warranted to be free from defects in material and workmanship for a period of two years from the date of receipt by the end-user. -
Page 113: Appendix C: Remote Control And Software Update Procedure
The above screenshot shows the Processing screen of the Omnia ONE’s built-in remote control applet. NOTE: The FM software style will be used to illustrate the Omnia ONE Remote Control screens in this chapter. Some screens and their available controls will differ slightly in the other styles. -
Page 114: Remote
Once Java is installed on your computer, using a Web browser, connect to the IP address of your Omnia ONE as on Page 80 if you need to enter the Network parameters into the Omnia follows: (see Network Configuration ONE) -
Page 115: Preset Tab
Note: In the current software, when selecting presets from the remote, the Preset: name will not be refreshed on the Omnia ONE’s front panel. To refresh the front panel preset name, simply click the Omnia ONE’s jog wheel to enter one of the menus and then click “<-Exit”. -
Page 116: In Tab
To change the “radio button” settings, simply click once on the button or name of the desired setting and release. In Tab Clicking on the “In” tab will display all of the controls for the Omnia ONE’s Input menu in the main applet screen. Adjustment of the controls works the same way as described above... -
Page 117: Out Tab
To enter the IO Configuration menu, click on the “IO” tab. Here you can select a previously saved IO Configuration from the Omnia ONE’s memory, save your changes to an existing IO configuration, save your IO settings as a new IO Configuration or delete an existing IO Configuration. -
Page 118: Livewire
Livewire output stream mode is selected. The Livewire output can also be disabled here. In the “Input to Omnia ONE” section, the channel from your Livewire system to be input to the Omnia ONE is selected. -
Page 119: File Transfer
Presets are saved as small, text-based files with the “.opr” extension. To upload a previously saved user preset to the Omnia ONE, use the file entry box (or the browse button) to enter the path to the preset file name to be uploaded and press the “Upload” button. -
Page 120: I/O Configuration File Transfer
So, after uploading a preset to the unit from the remote, simply save any preset as a new name, rename a preset or delete a preset using the front panel jog wheel and the uploaded preset should then show up in the front panel’s preset list. -
Page 121: Software Update Procedure
This is a safeguard against loss of power or other interruption during the update. In this event, the Omnia ONE should still boot into the active bank containing the “old” software (but it is best to avoid interruptions in any case). - Page 122 1, double-click it so that it appears in the “Update File:” box, then click the “Update” button. The file will now be uploaded to the Omnia ONE. This may take up to 5 minutes. A progress bar may or may not appear, depending on the browser being used but once the file is successfully uploaded to the Omnia ONE, the following “Update Initiated”...
- Page 123 Scroll down the Configuration page to find the “Select Software Bank:” section: In this example, the new software has been uploaded to Bank 1. You will notice that the previous software (Bank 0 in this case) is still selected and running. You can choose to change to the other bank to activate the new software or keep running the current software and reboot later.