Omnia Audio Omnia.11 - Manual (Page 51)

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Chapter-4: Introduction to Omnia.11 Processing
What you have before you is the result of over three years of intensive research and re-thinking by Team Omnia of
what an FM processor should and should NOT be doing to your precious program audio!
Things have changed quite a bit in the years since the previous generation of FM processors was designed.
Newer music is often so pre-processed already that the last thing it needs is more processing! Now it’s possible for
the processor to be “smart” enough to know whether a program element is pre-processed or not and act accordingly.
The Omnia.11 is able to do as little further “damage” as possible to already processed content (such as a song from a
modern hyper-compressed CD) while acting more aggressively on more dynamic, less pre-processed material.
New technologies have given us ways to design the processor algorithms much more interactively, allowing us to
instantly hear the results of changes. This has led to previously unheard of ways to minimize distortion, particularly
IM (Intermodulation) distortion, from ALL sections of the processing.
Omnia.11’s new algorithms allow the processor to output a much more natural and less-fatiguing sound, WITHOUT
losing loudness! And WHILE maintaining your consistent sound “signature”. These improvements affect ANY
format…as the old saying goes: “From Bach to Rock” and everything in between…and beyond!
The Omnia.11 contains processing for both FM analog stereo transmission and coded audio broadcasts of the same
program material, such as the HD-1 digital channel or Internet simulcasts.
Please make sure that you have gone through Chapters 1 through 3 and that the Omnia.11 is installed in the rack and
connected to a source of primary program audio before continuing with the rest of this chapter.
The Omnia.11 employs a conventional-looking processing layout (topology) that at first glance appears very similar
to our own Omnia-6. But that is where the similarity ends.
Each processing section in the Omnia.11 is much “smarter” than any previous processor so some change in
conventional thinking about the adjustment of the processing parameters will be needed on your part if you want to
delve in deeply while creating your “signature sound”.
But it is also entirely possible that once the Omnia.11 is set up properly for your system and the audio levels are
properly adjusted, you will find one of our included processing presets “hits the spot” and no further adjustment will
be needed!
So the first thing to do, as alluded to above, is to make sure that all of the Input and Output settings are correct for
your system and the levels for your selected inputs and outputs are adjusted properly.
Then it will be time to select a preset to start (or stay) with.
We will go over the basics in this chapter and then Chapter 5 will cover every available control and setting, if
needed.
NOTE: You may initially feel that your air sound with Omnia.11 is somewhat “less bright” than with your older
processor. Given that the Omnia.11 is set up correctly for your system, this is generally because distortion generated
in the old processor was actually creating a “false brightness” to the sound. With Omnia.11 you are actually hearing
all of the natural treble that is in the program material on the air, quite possibly for the first time!