Omnia Audio Omnia.9/XE - Manual (Page 79)

Big Bottom– by Leif Claesson
As the name implies, a thundering and broad low-end is the hallmark of this 6-band preset. The strong
bass is created by a combination of the parametric EQ, the WB AGC-2 in “Bass Only” mode, and a final
boost in the Band Mix. Vocals are pushed a bit farther back in the mix in favor of the strong low end, and
Infinite:1 ratios in all bands of the multi-band AGC at all times creates a dense and consistent output,
conjuring up the general sound of another un-named but ubiquitous processor known for its bass texture
and consistency. If there’s bass to bring forward in the music, “Big Bottom” will find it.
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. It
makes use of Omnia.9/XE’s multi-stage AGC sections prior to the multi-band compressors as well as the
Gain Reduction Override feature in the multi-band section. It’s competitively loud but still punchy.
Celeste – by LeeXS
A fast-acting WB AGC and Infinite:1 ratios over threshold in the multi-band AGC’s give “Celeste” a
consistent sound on a wide variety of source materials. It’s strong, warm, and round bass texture and
smooth midrange make it a good choice for smooth R&B or light AC stations who value long-term
listening and an easy sound over all-out loudness.
Classical/Jazz – by Leif Claesson
“Classical/Jazz” is a 3-band preset designed to provide gentle wideband and multi-band dynamics control
without interfering with the original spectral balance of the music. It is not designed for loudness, as it
utilizes a modest amount of slow multi-band gain riding and minimal final clipping. It has a much wider
gain range than corresponding presets in most other processors, yielding excellent consistency and
listenability at lower volumes (such as an office setting) or in noisy environments. This preset works
equally well with classical and jazz programming.
Echoes - by Jim Kuzman
This preset was created with openness and dynamics in mind but despite its mission remains
competitively loud on average. Very slow multiband attack and release rates, high multiband AGC target
settings, and higher-than-normal Gate and Freeze thresholds prevent soft passages from increasing too
much and allow short-term dynamics to pass through with plenty of punch. This makes it a good choice
for stations who play World or New Age music or for any format where long-term listening is a priority.
Empire State of Processing – by Leif Claesson
Built to answer the question “How loud can a 3-band preset be?”, “Empire State of Processing” relies
more on the final clipper to deliver competitive loudness while employing slow attack and release rates
and low ratios in the multi-band section for a more open feel. Vocals are warm and full, balanced by a
crisp high end.
Eruption 2.0 – by Leif Claesson and Johnny Lundholm
Deep, always-present bass compliments of fast attack and release rates in the lowest band and a touch
of intentional wideband “breathing” make the dynamic and punchy preset a great choice for techno,
electronic, or highly-produced urban music. “Eruption 2.0” leans heavily on the final limiter to deliver
plenty of loudness on-air.
Factory Presets
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