One FM

Omnia ONE
FM
Stereo Audio Processor
Installation and Operation Manual

Version FM 2.0 / March 2008
Applicable to OmniaONE units running
FM version 2.0(11) or higher.
A Telos Company
Omnia ● 2101 Superior Avenue Cleveland, Ohio 44114 USA

TEL: +1 216.241.7225 ● FAX: +1 216.241.4103 ● www.omniaaudio.com
Omnia Europe ● Johannistrabe 6 D-85354 Freising Germany

TEL: +49 8161 42467 ● FAX +49 8161 42402 ● www.omniaaudio.com
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January, 2007
Welcome to Omnia.ONE!
I wish to offer my sincere gratitude on behalf of our company and welcome you to Omnia.ONE!
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. It is also the first audio processor to incorporate LiveWire
connectivity, enabling linear audio over dedicated networks. It’s the hottest ‘interconnect’ technology in the
professional audio industry today.
Broadcasters require a lot of flexibility in an audio processor because transmission systems exist in many different
forms. The processor you choose must have the tools to meet those needs. Special firmware inside Omnia.ONE
allows it to meet the challenges of FM, AM, HD Radio, DAB, DRM, FMing, Podcasting, Netcasting, Satcasting,
and any other form of ‘casting’ you can think of. There’s plenty of power inside its little 1U frame, so don’t let the
size fool you!
It was 1986, in the engineering shop at Z-100, (WHTZ-FM) New York City where our first product was born - The
Vigilante FM Limiter. Twenty-one years later and with an incredibly talented team of designers behind it, we offer
you the newest baby in our ever-growing family, Omnia.ONE!
Speaking of the team, I wish to offer a sincere and heart-felt thank you to: Rob Dye, Bill Mohat, Ed Zmuginsky,
Mark Manolio, Ted Alexander, David Jablonski, Scott Stiefel, Betty Ferrell, Marty Greenberg, Steve Kiffmeyer,
Denny Sanders, Marty Sacks, Mike Dosch, Kirk Harnack, Mike Uhl, Jim “Clemenza” Armstrong, Marc Johnson,
Ken Skok and a host of others (as you can see, it’s not just “Frank” anymore!). It’s a great team of people who
always maintain one goal in their minds…keep raising the bar!
Steve Church, my partner in crime and founder of Telos, first introduced DSP technology to broadcasting in 1985.
Our team of DSP gurus is the finest in the audio industry. Our own specialized DSP ingenuity has been
tremendously beneficial to Omnia’s development.
You have in your possession an incredible audio processor. Also, you have the full support of our entire
organization standing behind the product. If you have feedback, or even a new idea, we’re here to listen! Customers,
like you, offer us valuable feedback. After all, it’s feedback like yours that helped us introduce the original
Omnia.FM, and then take the industry by storm. Our quest today, just as it has been all along, is to continue to be the
audio processing brand leader.
To borrow a phrase from my old stomping grounds, Z-100 in New York City, Omnia went from worst to first in the
minds and ears of radio broadcasters. We are honored, equally humbled to say the least, and grateful to you, our
customers, for helping us make that happen! Omnia processors have been installed by tens of thousands of
broadcasters throughout the world, and I am overwhelmed when I look at the list of our end-users. So, it’s to you,
our loyal customers and friends, that I say Thank You!
To Great Sounding Audio…the World over!
Frank Foti
President, Omnia Audio

ii

OmniaONE Quick-Start Setup
We know that you’re probably in a hurry to begin using your new OmniaONE FM. If you have technical expertise and
previous knowledge of audio processor fundamentals, using our Ten-Point Quick-Start will get you up and running as quickly
as possible. Please refer to the remainder of the Operating Guide for additional installation and setup information. Refer to the
following illustration for the location of the various controls and connectors associated with the installation:
Headphone Jack Headphone Level Control Jog Wheel
Main Menu / G/R Metering LCD Display Level Meters
1. Install the OmniaONE 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!
2. Connect AC power to the unit (there is no power switch!)
3. Connect the audio inputs that are appropriate for your installation.
4. Navigate to the Input/Output / Meter Select setting and select Input.
5. Navigate to the Input/Output / Input / Input Src setting and select the Analog, AES/EBU or Livewire input as
appropriate for your installation. If your audio source is providing an audio feed you should then see meter activity on
the LED bargraph meters.
6. While driving the inputs with typical program material at normal operating level, navigate back up to the
Input/Output / Input menu (by highlighting and clicking on the “<-EXIT” option) and adjust the appropriate input
Level control until the peak-reading input bargraph meters are peaking up to at least –15 and up to –12 dBFS or a
little higher.
7. Connect the audio outputs in a manner that is appropriate for your installation.
8. Navigate to the Input/Output / Output / FM Options submenu and ensure that the Pre-Emphasis, De-emphasis and
BS-412 settings are correct for your system and your location.
9. Navigate to the Input/Output / Output or Stereo Generator Menu and adjust the appropriate output or composite level
control so that the output level is correct for the equipment that follows the OmniaONE.
10. Navigate back to the Main Menu, highlight Preset: and click. Rotate the jog wheel to display the preset you would
like to start with and click to select it.
The OmniaONE Quick-Start Setup is now complete. Please read on to learn about some of the features that make the
OmniaONE FM unique and for full details on installation and the operation of every control function.
iii

Table Of Contents
Welcome to Omnia.ONE! ........................................................................................................... i
OmniaONE Quick-Start Setup................................................................................................... iii
SAFETY I N S T R U C T I O N S ................................................................................... vii
HAZARD / WARNING LABELS ............................................................................................ viii
Manual Update Notification..........................................................................................................x
Chapter-1: Installation ..................................................................................................................1
Pre-Installation Tasks............................................................................................................1
About This Manual ................................................................................................................1
OmniaONE Components.......................................................................................................1
AC Power Environment ........................................................................................................1
Installation & Connections ...................................................................................................2
Rear Panel Connections ........................................................................................................3
Analog Audio Inputs and Outputs ...................................................................................... 3
A Note About Relative Phase: ............................................................................................ 3
Stereo Generator Connections ............................................................................................ 3
Composite Outputs 1 & 2 (BNC).....................................................................................3
19 kHz Sync Output (BNC).............................................................................................4
SCA Input (BNC) ............................................................................................................4
AES/EBU Digital Input, AES/EBU External Sync Input, and AES/EBU Output ............. 4
Ethernet / Livewire Connection .......................................................................................... 5
RS-232 Modem Connection (DB-9M) ............................................................................... 5
General Purpose Interface (GPI) (DB-9F).......................................................................... 6
Powering Up ...........................................................................................................................6
Chapter-2: Getting To Know Your OmniaONE.........................................................................7
The OmniaONE User Interface............................................................................................7
Headphone Level Control ................................................................................................... 7
Level Meters & Processing Bargraphs ............................................................................... 7
Audio I/O Level Display..................................................................................................... 8
Processing Meter Display ................................................................................................... 8
Using the Jog Wheel ........................................................................................................... 9
Main Menu........................................................................................................................ 10
User Interface Tutorial – Input Source Selection and Peak Level Setting ....................... 10
Proper Setting of Input Levels .......................................................................................11
An Important Word About Time Delay ............................................................................12
Chapter-3: Getting The Sound You Want.................................................................................13
Increasing Density/Loudness ..............................................................................................14
Adding More Detail — When Loudness Isn’t the Last Word .........................................14
Air-Sound Equalization Changes .......................................................................................15
Thunder Bass........................................................................................................................15
iv

Chapter-4: Main Menu Selections..............................................................................................17
Preset.....................................................................................................................................17
Processing .............................................................................................................................17
Save Preset ........................................................................................................................ 18
Delete Preset ..................................................................................................................... 18
Rename Preset................................................................................................................... 19
<-Exit ................................................................................................................................ 19
Adjust Processing.............................................................................................................. 19
<-Exit .............................................................................................................................20
Pre-processing................................................................................................................20
Wideband AGC (Automatic Gain Control) ...................................................................20
Enhancers.......................................................................................................................21
Xover (Crossover)..........................................................................................................22
Low Band AGC .............................................................................................................23
Mid Band AGC ..............................................................................................................23
Pres Band AGC (Presence Band AGC) .........................................................................24
High Band AGC.............................................................................................................24
Low Band Limiter..........................................................................................................24
Mid Band Limiter ..........................................................................................................25
Presence Band Limiter...................................................................................................25
High Band Limiter .........................................................................................................25
Bass Clipper ...................................................................................................................25
Mixer..............................................................................................................................26
Clipper............................................................................................................................27
<-Exit .............................................................................................................................27
Input/Output ........................................................................................................................28
Mtr Select (Meter Select).................................................................................................. 28
Input .................................................................................................................................. 28
Output ............................................................................................................................... 30
FM Options ....................................................................................................................31
Livewire ............................................................................................................................ 33
Stereo Generator ............................................................................................................... 33
Bypass ............................................................................................................................... 34
Save IO Config ................................................................................................................. 34
Load IO Config ................................................................................................................. 35
Delete IO Config............................................................................................................... 35
Rename IO Config ............................................................................................................ 35
<-Exit ................................................................................................................................ 35
Administrative......................................................................................................................36
About................................................................................................................................. 36
Contrast ............................................................................................................................. 36
Network Configuration ..................................................................................................... 36
Reboot ............................................................................................................................... 36
Security ............................................................................................................................. 37
<-Exit ................................................................................................................................ 37
Lock Front Panel..................................................................................................................37
Unlocking the Front Panel ................................................................................................ 38

Appendix A: Performance Specifications..................................................................................39
Appendix B: Troubleshooting/Service/Warranty.....................................................................43
Diagnostics and Error Messages.........................................................................................44
Electrical and mechanical safety note!...............................................................................45
Narrowing down problems..................................................................................................45
Obtaining Service.................................................................................................................46
Via the World Wide Web ................................................................................................. 46
Via E-Mail ........................................................................................................................ 46
Via Phone & Mail (USA and non-European Countries) .................................................. 46
Warranty ..............................................................................................................................47
Appendix C: Remote Control and Software Update Procedure ............................................49
Remote Control ....................................................................................................................49
Remote .............................................................................................................................. 50
Preset Tab.......................................................................................................................50
Processing Tab ...............................................................................................................51
In Tab .............................................................................................................................52
Out Tab ..........................................................................................................................52
IO Tab ............................................................................................................................52
Encode Tab ....................................................................................................................53
Livewire ............................................................................................................................ 53
File Transfer...................................................................................................................... 53
Preset File Transfer ........................................................................................................54
I/O Configuration File Transfer .....................................................................................54
Trigger Scripts .................................................................................................................. 55
Software Update Procedure ................................................................................................56
Special Note:..................................................................................................................... 56
vi

SAFETY INSTRUCTIONS
1. 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. touch dangerous voltage points or short out parts
that could result in a fire or electric shock. Never spill
2. Retain All Instructions. All safety and operating liquid of any kind into the product.
instructions must be retained for future reference.
15. Accessories. Do not place this product on an unstable
3. Heed All Warnings. All warnings on the product cart, stand, tripod, bracket, or table. The product
and those listed in the operating instructions must may fall, causing serious damage to a child or adult,
be adhered to. and serious damage to the product. Any mounting of
the product needs to follow manufacturer's
4. Follow All Instructions. All operating and product installation recommendations.
usage instructions must be followed.
16. A Product and Cart Combination should be moved with
5. Heat. This product must be situated away from any care. Quick stops, excessive force, and uneven
heat sources such as radiators, heat registers, stoves, surfaces may cause the product and the cart
or other products (including power amplifiers) that combination to overturn.
produce heat.
17. Servicing. Refer all servicing of the product to
6. Ventilation. Slots and openings in the product are qualified service personnel.
provided for ventilation. They ensure reliable
operations of the product, keeping it from 18. Damage Requiring Service. Unplug this product from
overheating. These openings must not be blocked the AC wall outlet and refer servicing to qualified
nor covered during operation. This product should service personnel under the following conditions:
not be placed into a rack unless proper ventilation is
provided through following the manufacturer's • When the AC plug is damaged.
installation procedures.
• If liquid has been spilled or objects have fallen into
7. Water and Moisture. Do not use this product near the equipment.
water – for example; near a bath tub, wash bowl,
kitchen sink or laundry tub; in a wet basement; or • If the product has been exposed to rain or moisture.
near a swimming pool or the like.
• If the product does not operate normally (following
8. Attachments. Do not use any attachments not operating instructions).
recommended by the product manufacturer as they
may cause hazards. • If the product has been dropped or damaged in any
way.
9. Power Sources. This product must be operated from
the type of power source indicated on the marking • When the product exhibits a distinct change in
label and in the installation instructions. If you are performance. This indicates a need for service.
not sure of the type of power supplied to your
facility, consult your local power company. 19. Replacement Parts. When replacement parts are
required, be sure the service technician has used
10. Grounding and Polarization. This product is equipped replacement parts specified by the manufacturer or
with a polarized AC plug with integral safety that have the same characteristics as the original
ground pin. Do not defeat the safety ground in any parts. Unauthorized substitutions may result in fire,
manner. electric shock, or other hazards.
11. Power Cord Protection. Power supply cords must be 20. Safety Check. Upon completion of any repairs to this
routed so that they are not likely to be walked on product, ask the service technician to perform safety
nor pinched by items placed upon or against them. checks to determine that the product is in safe
Pay particular attention to the cords at AC wall operating condition.
plugs and convenience receptacles, and at the point
where the cord connects to the product. 21. Cleaning. Do not use liquid cleaners or aerosol
cleaners. Use only a damp cloth for cleaning.
12. Lightning. For added protection for this product
during a lightning storm, or when it is left
unattended and unused for long periods of time,
unplug it from the AC wall outlet. This will prevent
damage to the product due to lightning and power
supply surges.
13. Overloading. Do not overload AC wall outlets,

extension cords, or integral convenience outlets as
this can result in a fire or electric shock hazard.
vii

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.
WARNING -- This equipment generates, uses, and can radiate radio frequency energy. If not
installed and used in accordance with the instructions in this manual it may cause interference to
radio communications. The device has been formally submitted for testing and found to comply
with the limits for a Class B computing device (pursuant to subpart J of Part 15 FCC Rules) and
has been designed to provide reasonable protection against such interference when operated in a
commercial environment. Operation of this equipment in a residential area may cause
interference, and the user and at his expense will be required to take any measures required to
correct interference.
CANADA WARNING – This digital apparatus does not exceed the Class B limits for radio
noise emissions set out in the Radio Interference Regulations of the Canadian Department of
Communications. Le present appareil numerique n'emet pas de bruits radioelectriques depassant
les limits applicables aux brouillage radioelectrique edicte par le ministere des Communications
de Canada.
viii

CE CONFORMANCE – This device complies with the requirements of the EEC Council
Directives: 93/68/EEC (CE Marking); 73/23/EEC (Safety – low voltage directive); 89/336/EEC
(electromagnetic compatibility). Conformity is declared to those standards: EN50081-1,
EN50082-1.
LITHIUM BATTERY CAUTION – There is a danger of explosion if the internal

battery is replaced incorrectly or shorted. Replace the battery only with same or
equivalent type recommended by the manufacturer. Dispose of used batteries
according to the manufacturer's instructions.
USE OF SHIELDED CABLING – In order to conform to the CE requirements for

High Frequency radiation, shielded cables must be used for all audio and data
connections.
NOTE: When the unit is operated in an extremely high RF environment, it may be

helpful to connect cable shields to the XLR-connector terminal that connects cable
shield to chassis ground, not to pin 1. Additionally, a 0.01uF capacitor connected
between XLR pin-1 and the chassis terminal may be helpful in some instances.
RoHS COMPLIANCE – The RoHS Directive stands for "the restriction of the use of certain
hazardous substances in electrical and electronic equipment". This Directive bans the placing on
the 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. OmniaONE FM is in compliance with
the EU RoHS Directive.
ix

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.
We strongly encourage our customers to visit our Omnia website for product enhancement
announcements, software updates, updated user manuals, and customer support bulletins.
The following URLs have been included for your convenience:
Manual Updates http://www.omniaaudio.com/support/manuals.htm

Frequently Asked Questions (FAQ) http://www.omniaaudio.com/support/faq.htm
Tech Tips & Support Bulletins http://www.omniaaudio.com/tech/tips.htm
Software Upgrades & Remote Software http://www.omniaaudio.com/support/updates.htm
White Papers & Technical Discussions http://www.omniaaudio.com/tech/default.htm

Chapter-1: Installation
Pre-Installation Tasks
Please take a few minutes to read through this chapter before proceeding with the installation. This section offers
common procedures for installing your new OmniaONE processor.
About This Manual

This manual is written to cover the OmniaONE FM. If you are setting up a different style of the OmniaONE, please
refer to the instruction manual for that product. To download the OmniaONE manual for a different style in .pdf
format, see: http://www.omniaaudio.com/support/manuals.htm
OmniaONE Components
By now, you’ve unpacked the shipping carton to gain access to this manual. Now is the time to inspect the
OmniaONE unit and its shipping carton for any signs of shipping damage. Such damage must be reported to your
carrier for any claims. The OmniaONE shipping box includes the following components:
OmniaONE processor.
OmniaONE Operating Manual.
Warranty Registration Card. (Please complete the form and return/FAX it to Telos/Omnia)
Two IEC Power Cords, one for use in the US, and one for use in Europe.
One each Male and Female XLR to StudioHUB® RJ45 adaptor cables.
AC Power Environment
The OmniaONE subsystem is a DSP-based microcomputer, and therefore requires reasonably clean AC power, just
as any modern computer system does. And even though the OmniaONE power supply is equipped with robust AC
transient suppression, we recommend that an “online” style (non-switching type) Uninterruptible Power Supply
(UPS) with transient surge suppression be employed.
At transmitter sites there can be heavy transients on the power lines as well as significant surges introduced into the
power system by frequent lighting strikes. These are unwelcome power line events and can damage even the most
robust equipment. Therefore you should give the AC power environment and installation practices thorough
consideration before plugging in the OmniaONE (or any other microcomputer-based equipment).
A White Paper by one of our Support Engineers can be found on the Telos Systems website at the URL listed below.
It details proper grounding and contains links to some surge suppression products for both the power mains and the
often-neglected telephone, Ethernet and ISDN line connections that can (and do) conduct powerful surges into the
equipment.
http://www.telos-systems.com/techtalk/surge.htm

Installation & Connections
Throughout this section reference is made to “software parameters.” These are part of the User Interface, which is
covered in detail in Chapter 2.
Rack Mounting
The OmniaONE 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-
screw mounting arrangement will prevent distortion of the front panel!
Adequate ventilation should be provided, and it is always good engineering practice to allow one blank rack space
immediately above and below the Omnia, especially if equipment generating significant heat is located below the
unit. You may install 1RU (1.75") vented or solid rack panels to fill these spaces.
The processor should be installed into a properly grounded 19" equipment rack. Refer to Chapter X, “OmniaONE
User Tips”, for additional considerations on where to physically locate your processor.
AC Power Connection
OmniaONE utilizes an un-switched EMI-filtered IEC power-entry module.
OmniaONE’s automatic voltage–sensing, high-efficiency switching power supply allows it to operate on AC mains
voltages from 100 to 240 VAC and from source frequencies of either 50 or 60 Hz.
In the USA, plug the provided IEC type AC power cord into the unit and then into a grounded AC outlet.
Outside of the USA you must use the appropriate power cord that complies with local electrical regulations.
After power is first applied to the OmniaONE, the LCD screen, the “in” and “out” LED’s and the rightmost
segments of the LED bargraph meters should light. After about 20 seconds the LCD screen should show
“OmniaONE FM” and at about 30 seconds the Main Menu should appear. Once the Main Menu appears the unit is
ready for use.

Rear Panel Connections
Analog Audio Inputs and Outputs

Balanced XLR-type connectors are used as input connectors for the analog audio. Both analog and digital input
sources may be connected simultaneously, however, only the input source that has been selected is active.
Analog/Digital/Livewire Input source selection is done through the “Source” software parameter setting in the
Input/Output / Input Menu.
All outputs are active simultaneously.
The stereo analog inputs Individual Left and Right

are designed for standard analog outputs are available
+4dBu balanced signals. on two male XLR jacks.
Pin 2 is Hot. Pin 2 is Hot.
A Note About Relative Phase:

If the relative phase of your installation (including the OmniaONE) 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. To remedy this, you can either reverse the polarity of
both of the analog inputs or simply change the Invert setting to [Both] in the Input submenu of the Input/Output
menu.
Stereo Generator Connections

Four standard female BNC connectors comprise the OmniaONE’s stereo generator connections.
There are two composite MPX outputs with independent software level controls, one SCA input with level adjust
trimpot and one 19 kHz pilot sync output.
Composite Outputs 1 & 2 (BNC)

These two low impedance outputs (Composite 1 and Composite 2) are each capable of driving up to 100 feet of
RG-58A/U coax cable. The output levels are individually adjustable so the unit can operate as a “composite

DA” to drive a variety of equipment. The output levels and other stereo generator settings are set through
software parameters in the Stereo Generator submenu of the Input/Output menu. An internal jumper sets the
output impedance to either 5 ohms (the factory setting) or 75 ohms. The default setting is appropriate for the
vast majority of exciter connections. However, in the event a higher source impedance is required, a jumper can
be moved (one for each composite output) on the motherboard to change the source impedance to 75 ohms. For
reference, JP10 is for Composite #1, and JP9 is for Composite #2.
19 kHz Sync Output (BNC)

This TTL-level 19 kHz square wave output can be used as the reference signal for any RDS or SCA generator
that operates at 57 kHz or other multiple of the 19 kHz pilot frequency. This Sync output is phase and
frequency locked to the stereo pilot. When this signal is used to synchronize an external SCA or RDS generator,
this locking assures that no difference frequencies exist which may cause intermodulation components between
the pilot and the SCA signal.
SCA Input (BNC)

Any SCA or RDS signal above 53 kHz can be added to the composite outputs of the OmniaONE by connecting
the signal to the SCA INPUT connector. The SCA signal is mixed in the analog domain directly into both
composite outputs. A high-pass filter on the SCA input provides SCA to main-channel crosstalk protection. The
SCA injection level can be adjusted using the Gain trimpot. See Page 33 for details.
AES/EBU Digital Input, AES/EBU External Sync Input, and AES/EBU Output
(GREEN Male XLR)
(GREEN Female XLR)
(RED Female XLR)
The digital AES/EBU (AES-3) inputs (IN and EXT. SYNC) use industry-familiar RJ-45 connectors and utilize the
StudioHUB+ wiring standard1. They accept any sampling rate between 32kHz and 96kHz. No user adjustment of the
sample rate is necessary on the AES-3 input as a high-quality digital sample rate converter is built in. There is one
AES-3 output on a standard RJ-45 connector that provides an output at selectable sampling rates.
Note: The analog and digital outputs are active simultaneously.
1
More information about the StudioHUB+® wiring scheme can be found at: http://www.studiohub.com/
For your convenience, two XLR adaptor cables are supplied with the unit. The male XLR lead with the GREEN
shrink tubing is used for AES OUT. The male XLR lead with the RED shrink tubing is not used.
The female XLR lead with the GREEN shrink tubing is used for AES IN and the female XLR lead with the RED
shrink tubing is used for AES EXTERNAL SYNC IN.

Ethernet / Livewire Connection
The RJ-45 10BaseT / 100BaseT Ethernet / Livewire
I/O jack can be used simultaneously for both
TCP/IP based remote control of your OmniaONE
and audio input/output to your existing Livewire
network.
Ethernet 10BaseT/100BaseT Remote and Livewire I/O
RS-232 Modem Connection (DB-9M)

This DB9-male connector can be used to connect an external dialup modem for a bi-directional computer remote
control connection.1
NOTE: This connector is for a remote control external modem connection only. Please see Appendix B for
information on how to use a terminal program along with an internal RS-232 connector for troubleshooting
purposes.
RS-232 Modem Port
NOTE: You must use a standard straight-through serial cable and not a null modem cable when connecting the RS-
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 OmniaONE has a 9 pin in "DTE"
configuration, so the standard 9-pin to 25-pin cable will work).
1
The setup and operation of the Omnia Remote Control application is covered in detail in Appendix C.
Please note that the RS-232 Modem functionality is not yet implemented in the current software but will be
available with a free downloadable software update. Please check the Omnia website for new software
announcements, download links and manual updates at: http://www.omniaaudio.com/

General Purpose Interface (GPI) (DB-9F)
This DB9-female connector serves as a four-input, optoisolated interface to the Omnia's internal Trigger Script
functions*. Four of the pins are “trigger” inputs, one is a bias voltage input, one is a +5V power output, and the
remaining three are “ground.” The trigger inputs can be used to dynamically alter the OmniaONE’s operation in
response to logic transitions on the interface connection. Virtually any parameter of the Omnia can be controlled
using the Trigger Scripts.
The Trigger Script Interface is a standard component of the OmniaONE Remote Control application. Full details,
including connector pinout, are covered in Appendix C, starting on Page 49.
*Please note that the GPI and Trigger Script functionality are not yet implemented in the current software but will be
available with a free downloadable software update. Please check the Omnia website for new software
announcements, download links and manual updates at: http://www.omniaaudio.com/
DB-9M GPI “Interface” Connector
Powering Up
Now you are ready to power up the OmniaONE for the first time.
Connect AC power to the unit using the appropriate supplied power cable for your location.
(There is no power switch!)
When the OmniaONE 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. Once the boot process is finished the following Main Menu will appear:

Chapter-2: Getting To Know Your OmniaONE
The OmniaONE User Interface
Now that your OmniaONE 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 OmniaONE
processor.
A front panel jog-wheel with integral push switch, LED bargraph peak-reading level meters and a backlit LCD
display that is switchable between menu and AGC/Limiter metering screens make up the primary OmniaONE User
Interface. The front panel menu access may be password protected to prevent unauthorized tampering with
processing or presets.
OmniaONE Key Front Panel Features
Headphone Jack Headphone Level Control Jog Wheel
Main Menu / G/R Metering LCD Display Level Meters
Headphone Level Control

A standard ¼" TRS stereo headphone jack is located at the left side of the front panel and allows the processed
signal to be monitored. The Headphone volume level control is physically located to the right of the headphone jack.
The headphone amplifier itself is a high-headroom design and is driven by its own high quality D/A converter that is
independent of the analog XLR outputs. Therefore level changes in either output will not affect the other.
Level Meters & Processing Bargraphs

The top two of the three horizontal meters show digital sample-accurate peak representations of the left and right
channel input or output levels. Whether these bargraphs are displaying Input, Analog Output, AES/EBU Output or
Livewire Output levels is selectable from within the Input/Output menu. A front panel indicator confirms which
level view has been selected, Input or Output.
The bottom horizontal meter (marked “comp / aux”) displays the composite MPX level from the stereo generator
before the output level controls.

Audio I/O Level Display
Either input or output levels can be displayed on the top 2 (L & R) meters. The highest LED illuminated indicates
digital sample-accurate peak signal levels. The meters are calibrated in decibels below full scale digital (0 dBFS) in
2dB steps. 0 dBFS is the absolute maximum level in the digital domain. Levels from –34 dBFS to –14 dBFS are
displayed in blue, levels from –12 to –2 dBFS are displayed in yellow and 0 dBFS (the clipping point) is displayed
in red. The bottom meter displays the composite MPX signal level referenced to 100% modulation.
Audio I/O Level Display

Processing Meter Display
In “Meter Display” Mode the vertical bargraphs show all of the processing activity (the amount of gain reduction) in
the AGC, Limiter and Clipper sections within the OmniaONE. If the “Menu Display” is currently showing on the
OmniaONE’s LCD screen, press and hold the jog-wheel for two seconds to switch to the processing meter display as
shown below.
To return to the Menu display, simply click the jog wheel once. (See “Using the Jog Wheel” on the next Page)
Processing Meter Display
AGC Meters Limiter/Clipper Meters

W…... Wide Band AGC L….. Low Band Limiter
L……. Low Band AGC M…. Mid Band Limiter
M…… Mid Band AGC P…... Presence Band Limiter
P…… Presence Band AGC H….. High Band Limiter
H…… High Band AGC B….. Bass Clipper
M…. Main Clipper
Important Notes:
• A solid white bar will drop downward from the top to display the amount of gain reduction in each
band. The change from a solid bar to a checkerboard pattern indicates a “gated” condition in that
band.

• The wideband AGC and four-band AGCs will recover to a resting gain setting which coincides with
the RTZ (Return To Zero) levels set for each band.
• The Clipper meters are peak reading, showing the maximum amount of clipping that occurred over
the past 30 milliseconds. The Main clipper meter will indicate higher amounts of clipping on bright
program material because the Main Clipper is operating on the pre-emphasized audio signal. This is
normal and does not indicate the perceived amount of audio distortion.
Using the Jog Wheel

The main user control for the OmniaONE 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 OmniaONE. 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. The behavior of the OmniaONE's menu system is consistent across pages
and is easy to learn. We believe that you will quickly become comfortable with how it works, and appreciate its
simplicity.
Clockwise rotation moves the highlighting in a menu downward and increases a value when editing parameters.
Counterclockwise rotation moves the highlighting in a menu upward and decreases a value when editing parameters.
Pressing inward on the jog-wheel activates the Enter, Return or Select button function as follows:
Pressing the jog-wheel inward once (also called “clicking”) selects the highlighted menu item or accepts the current
parameter value. Think of it as a vertical mouse button.
Pressing and holding the jog-wheel in for two seconds will switch the LCD screen to a display of the processing
meters so that the gain-reduction activity of the AGC and Limiter sections can be monitored.
Clicking once when the metering screen is displayed will return the display to the menu screen.

Main Menu
The OmniaONE menu system has been designed to be intuitive and simple to use. Most operating parameters are
found under one of the menu headings and sub-headings, allowing adjustments to be made quickly and with ease.
Rotating the jog-wheel sequentially highlights each menu item in turn.
When the jog wheel is pressed inward (clicked) while a menu item is highlighted it will open that item’s submenu.
Similar behavior occurs when selections are made within the various submenus.
To return to the previous level, rotate the jog wheel clockwise until <-Exit is highlighted and then press the jog
wheel inward. (Click) This will return you to the next highest level in the menu structure. NOTE: Some of the
longer menus have an <-Exit option at the top of the menu as well as at the bottom.
The OmniaONE Main Menu offers five selections:
• Preset
• Processing
• Input/Output
• Administrative
• Lock Front Panel (not visible in the above screenshot)
User Interface Tutorial – Input Source Selection and Peak Level Setting
The following two exercises are a useful introduction to the user interface. Start from the Main Menu (as displayed
when the unit is first turned on).
The first exercise changes a parameter selection (the Input Source selection):
Rotate the jog-wheel to highlight Input/Output.
Click the jog-wheel (push on the wheel once until a click is felt and release) to bring up the Input/Output
menu.
Rotate the jog-wheel to highlight Input and click.
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Rotate the jog-wheel to highlight Input Src and click.
The factory default selection for Input Source is Analog. To change the input selection to AES/EBU digital
or Livewire, rotate the jog-wheel until [AES/EBU] or [Livewire] is displayed and click. If you are using
the analog inputs, rotate the jog wheel to display [Analog] and click to reselect the analog inputs.
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. NOTE: Many of the OmniaONE’s menus have an <-EXIT
selection at both the top and bottom of the menu.
The next exercise adjusts a parameter that uses a value (the analog master input level setting):
The Main Menu display should still be showing on the LCD screen. If not, click the jog-wheel to display it.
Highlight Input/Output and click.
Highlight Mtr Select, click, rotate the jog wheel until [Input] is displayed and click. This sets the first 2 LED
meters to monitor the Left and Right channel input levels.
Rotate the jog wheel clockwise to highlight Input and click.
Rotate the jog wheel to highlight Anlg Level and click the jog-wheel to select the control.
Rotate the jog-wheel CW to increase the input level. Rotate the jog-wheel CCW to decrease the input level.
This control adjusts both channels together in precise 0.5 dB steps. The gain in dB is shown to the right of the
“control.” Watch the Left and Right channel LED meters while adjusting per the following paragraph below.
Proper Setting of Input Levels

With normal program audio levels applied, a correct input level setting will result in peak indications on the L & R
LED meters achieving –12 dBFS or a little higher (just into the yellow). This gain setting corresponds to system
headroom of about 12 dB. You may adjust the input level lower for more headroom if you wish. Setting the input
level for higher meter indications (less headroom) is strongly discouraged unless there is another level-control
device prior to the OmniaONE 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.
Once the desired level setting is reached, click the jog-wheel to accept that value. This returns the jog-wheel
to Select Mode.
You may highlight and click Right Trim to adjust its gain separately from the left channel if the input source
is not well balanced. In this mode the right channel gain can be adjusted over a range of plus and minus 3 dB
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 OmniaONE’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 OmniaONE’s output
characteristics because adjustments occur in real time. Therefore any adjustments you make will be instantly heard
as they occur.
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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 OmniaONE to the output at approximately 7.7ms. 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.
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.
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Chapter-3: Getting The Sound You Want
This chapter explains generally how to alter the sound of the OmniaONE FM factory presets, if desired, using the
controls explained in the Adjust Processing section of Chapter 4. Always go through all of the factory presets,
regardless of their name and start with the factory preset that is closest to the sound you are looking for.
Don’t let the small single-rack sized package fool you! OmniaONE’s new hardware platform allows us to pack more
power in its single rack space than the original Omnia.FM had in three!
The OmniaONE FM 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.
OmniaONE FM is designed to minimize the impact of the quality vs. loudness trade-off.
If you believe that you’re in a loudness war and you feel a need to react, we can provide some suggestions that
should help. Conversely, if you have the luxury to strive for increased sound quality, we’ve got suggestions for you
too!
OmniaONE FM has been designed to minimize the trade-offs between quality and loudness, and we recommend that
before starting the process of cranking it up, try to determine beforehand what sonic characteristics might be
lacking.
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.
The trade-off between quality and loudness is primarily determined by how you choose to use the limiting and
clipping sections. While each function alone will generate “dial presence,” they each have different advantages, as
well as side effects.
When excessive limiting is used, intermodulation distortion is increased, making the audio sound “mushy”, and
“smeared.” The added short-term density can also cause the audio to be “tight”, “squashed”, or “dense.” The
dynamics” artifacts caused by excessive limiting might sound like “pumping,” “breathing.” The rule for limiting is
“a little goes a long way!”
When excessive clipping is used, harmonic distortion is increased. The audio level is in effect “running into the
brick wall.” Too much clipping can cause the audio to sound “broken-up,” “torn,” “rough,” or “edgy.” As might be
expected, the harder the limiters and clippers are driven, the louder the perceived audio. However, you are also
much more likely to encounter increased intermodulation and/or harmonic distortion.
The following sections are provided to assist you in designing the personality of your sound. As we said earlier,
there is no precise recipe for setting up audio processing because each application is different. However there are a
few basics that we can share with you that can help get you to where you want to go. Setting up processing for the
absolute best end product usually requires a concerted effort, some extended periods of critical listening, and making
a few intelligently chosen and subtle changes over time. It will be time and effort well spent, and all you need to
know up front is that you must:
Know your goals (have a plan).

Take your time.
Always adjust deliberately and methodically.
Listen critically before making more adjustments.
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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.
The following are some suggestions on where to begin to make changes. For best results you should try them in the
order we have listed below.
Increasing loudness can be accomplished in five ways:
1. Alter the following parameters in the AGC:

Increase the Drive to the AGC sections.
Increase the Release settings to make the bands operate faster.
2. Modify the Multiband Limiter sections:

Increase the Drive to the Limiter section.
Increase the Release settings to make the bands operate faster.
Note that slowing the Attack time by using a lower setting can help make things sound more natural
when faster Release times are used. But be careful not to allow too many fast transients through to the
final limiter section.
3. Set the Hold threshold in each band to a lower value.
4. Increase the Drive to the clipper sections.
5. 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. It is better to make small adjustments to a small number of
controls at a time, and then listen to the result with a wide variety of program material. Once you have satisfactory
results in one area (like overall density) you can then move the focus to the next area that you feel needs more
tweaking.
Don’t be afraid to experiment with different styles of processing! Our presets are good starting points and are not
restricted to any particular format because of their name!
Adding More Detail — When Loudness Isn’t the Last Word

Now that we’ve “squashed the grape,” lets look at what it takes to undo a heavily processed signal. Basically, just
reversing the procedures listed above will do the trick:
1. Reduce the Drive to the Clipper sections.
2. Back off on the influence of the Limiter stages:

• Reduce the Overall Limiter Drive in the Xover.
• Reduce the Release times to slow down recovery.
• Raise the threshold of the Hold function.
3. Ease up on the AGC sections:

• Reduce the AGC Drive to the Wideband AGC and the Overall AGC Drive in the Xover.
• Reduce the Release times to operate slower.
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Backing off the clipping sections first will allow the processing to retain a level of competitive loudness while
enhancing quality, and the overall dynamic texture will be affected less.
Start with reducing the Clipper amount in 0.5 dB steps. It’s surprising how much detail can be restored from just a
small change of 0.5 dB. Continue to reduce it until the loudness just falls off too much and then bring it back up a
little from there.
Generally, changes in the Clipper drives will have the most noticeable effect on quality, but it will also affect the
relative loudness level, too. You’ll need to find a “happy medium” that’s right for you.
Air-Sound Equalization Changes

Tailoring the shape of the overall audio spectrum can be done in three different sections:
1. The relative drive settings in the multiband AGC Xover menu.
2. The relative Drive settings in the individual multiband Limiter menus.
3. The settings of the multiband limiter Mixer controls.
All three options will provide noticeable change in EQ. We suggest you use the first two listed options.
In either case, an EQ change is still followed by a dynamically controlled stage. Therefore any excessive EQ change
can be 'undone' by the subsequent AGC or Limiter.
The last option, adjusting the Mixer, is designed to provide a final minor trim to the spectrum. If you've noticed that
we calibrated these controls in 0.10 dB steps, then you know what we mean when we say these controls are for fine
trim!
Since this stage is after all of the dynamic AGC and Limiting, a radical change in level in the Mixer will result in
additional and possibly excessive clipping distortion of audio in that band. We suggest that changes implemented
here be limited to no more than about 1.0 dB. Naturally, the decrease in mix level can be done to any desired
amount.
Thunder Bass
OmniaONE FM has the power to shake the walls with low end! If your source material has it, OmniaONE 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. Increase the amount of Bass boost in the Enhance section.
2. Increase the Drive to the Low Frequency Limiter.
3. Increase the Release setting in the Low Frequency Limiter.
4. Increase the Drive to the Bass Clipper.
Just as in the section on ‘overdoing’ processing, again moderation is the key. If all of the above changes are made in
unison there is a possibility of severe low frequency buildup. This would unbalance the audio spectrum and produce
the illusion of “lost” presence and high frequencies.
Generally, an increase in the Bass boost alone will provide a sufficient enhancement to the low end. Bass
adjustments should typically be done after selecting the preset you wish to use.
15

16

Chapter-4: Main Menu Selections
This section presents an overview of the five Main Menu items, (Preset:, Processing, Input/Output,
Administrative and Lock Front Panel) their submenus (if any), and details about each of the adjustable controls
within.
Preset
OmniaONE 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.
Highlighting Preset: and clicking the jog wheel (see Using the Jog Wheel on Page 9) will open the Preset menu.
Rotating the jog wheel will scroll through all of the factory presets as well as any user presets that have been stored
within the unit’s non-volatile memory. The currently loaded preset will appear with square brackets around it.
Clicking the jog wheel will load the displayed preset into the OmniaONE, instantly setting the various processing
parameters.
To exit the Preset menu without loading a preset, rotate the jog wheel clockwise until *cancel* is displayed and
click.
By alternately loading different presets you may compare the sound between them.
Here in the Preset: menu, you may select and load presets to use, but not save, delete, or rename them. Those
operations may be accomplished from within the Processing menu.
Processing
Highlighting and clicking Processing from the main menu opens up the Processing menu that contains these
options: Adjust Processing, Save Preset, Delete Preset, Rename Preset and <-Exit. This is where the sound of the
OmniaONE can be fine-tuned and customized. Once customized, this is also where your user presets are saved,
deleted and renamed. Each submenu in the Adjust Processing menu can be highlighted, clicked to open, and the
individual controls within can be adjusted to individual taste.
Since you cannot build a preset from scratch, a factory preset must be used as a starting point for creating your
“signature sound.” Each processor parameter may be adjusted to taste as required. Once the processing is adjusted,
the Save Preset function is used to store your changes as a new user preset to non-volatile internal memory.
Using the Delete Preset and Rename Preset options, existing user presets may be deleted from memory or renamed
as needed. The original factory presets can never be deleted or renamed.
We will discuss the Save Preset, Delete Preset, Rename Preset and <-Exit options first before delving into the
details of the Adjust Processing menu.
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Save Preset
This option saves any changes you have made to the currently running preset into the OmniaONE’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. You may not save a factory preset over itself with the same name and attempting this will generate the error
message: “Cannot overwrite factory preset. Save preset with new name.”
Preset names can contain up to 10 characters.
To save your changes proceed as follows:
Highlight Save Preset and click. “Name” will be highlighted and the Name field will automatically display the
existing preset name. If you wish to overwrite this existing preset with your changes, just rotate the jog wheel
clockwise to highlight the Save button and click. Your changes will be saved to the existing preset.
If instead, you wish to save your changes as a new user preset with a different name, click the jog wheel while
“Name” is highlighted and the editing cursor will appear, highlighting the first character of the existing preset name.
This is “select” mode.
At this point you can scroll left and right through the text by rotating the jog wheel knob. Be careful not to scroll
clockwise past the blank space just after the last character of the preset name or “select” mode will be cancelled. If
this happens, simply rotate the knob counter-clockwise until “Name” is highlighted and click to re-enter “select”
mode.
When you reach the character you want to edit, click. This puts the cursor in “edit” mode. You can now change that
character by scrolling through the character list with the knob. When the desired character is found, click. This will
return the cursor to “select” mode and you can again turn the knob to select the next character to edit.
-To delete a character... Select the character to be deleted, click, choose the " < " symbol and click again to delete
that character. Characters can only be deleted one at a time.
-To insert a character between 2 existing characters... Select the character just after where the new character is to be
inserted, click, choose the " ^ " symbol and click again. The new character appears. Now rotate the knob to select the
desired character for it and click to accept. (Note that this inserts a new character before the one selected, and keeps
the originally selected character intact as what it was before choosing "^")
When you are finished, simply rotate the knob clockwise (with the cursor in “select” mode) until the Save button is
highlighted and click to save the preset. Your new user preset will now appear in the Preset: menu.
-To cancel at any time without saving… With the cursor in “select” mode, rotate the knob clockwise until Cancel is
highlighted and click.
Delete Preset
This option allows a preset to be deleted. You may never delete a factory preset. An error message will be generated
if you attempt to do so. You may delete the last preset that was loaded. The loaded settings, along with any
changes, will continue to “live on” as the current settings, but cannot be recalled again until they are saved.
To delete a user preset highlight Delete Preset and click. Rotate the jog wheel to display the preset to be deleted.
Click the jog wheel and that preset will be instantly deleted. Warning: There is no delete confirmation dialog!
If you wish to exit without deleting a preset, rotate the jog wheel clockwise until *cancel* is displayed in the preset
list and click.
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Rename Preset
A preset in the list of stored user presets can be renamed at any time. Factory presets cannot be renamed.
To rename a user preset highlight Rename Preset and click. Rotate the jog wheel to display the preset to be
renamed and click.
Edit the preset name as described above in the Save Preset section.
To exit without renaming the preset, rotate the jog wheel until *cancel* is displayed and click.
<-Exit
Click on this option to return to the Main Menu.
Adjust Processing
This submenu allows changes to be made in any of the OmniaONE’s several dozen processing parameters. These
adjustments alter the sound and texture of the audio.
Here is a block diagram of the fully digital, DSP based processing stages within the OmniaONE 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.
Each of the four processing bands consists of an AGC followed by a peak limiter. Each AGC works on the average
level in its band, passing faster transient peaks on to the following peak limiter. The 4-Band AGC acts as both a
“dynamic equalizer” and a gated compressor to add consistency and increase density at the same time. This helps
keep the following peak limiter stage from working too hard, allowing it to work only on transient peaks.
The outputs of each limiter are re-combined in the Mixer (Mix), the output of which feeds the Pre-Emphasis and
Omnia’s precision, non-aliasing peak Clipper (with integrated 15kHz low-pass filter). This stage filters the audio for
FM broadcast transmission and clips off any overshoots generated by the combining of the 4-Band limiters and the
low-pass filter.
The tightly controlled, filtered output of the Clipper feeds the built-in digital Stereo Generator (with composite
clipper), the headphone jack (with its own automatic de-emphasis) and the XLR outputs (analog and AES/EBU
digital) with selectable de-emphasis.
19

More information on each of these processing stages can be found below in the descriptions for each processing
parameter control.
Increasing any setting will lead to more aggressive processing. For example, a higher drive setting adds more gain
into the dynamics section, a higher attack or release setting means a faster time constant, a higher gate threshold
setting means more gating will occur, and a higher (farther to the right on the control) setting for a filter means more
filtering is occurring (so the lowest frequency settings for a low pass filter are farthest to the right on the control).
Depending on the type of control adjusted and its range, the changes you make can affect the sound in subtle or
extreme ways. Our advice is to make a limited number of changes at a time, make those changes in small
increments, and then listen to the results for a period of time before making any further adjustments. Keep in mind
that should you get “lost” you can always go back to where you started by simply recalling the factory preset that
you started with. The factory presets cannot be overwritten.
To get started, click on Adjust Processing from within the Processing menu.
<-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.
Phase Rot (Phase Rotator)

The phase rotator improves waveform symmetry for program material that is highly asymmetrical
in nature. Examples of such programming are the human voice, and sources with non-sinusoidal
waveforms such as certain string and wind instruments, as well as certain sounds created by
electronic synthesizers. By removing waveform asymmetry from the input program material,
cleaner processing results because any limiting that occurs is able to work equally on both positive
and negative excursions of the audio waveform.
Wideband AGC (Automatic Gain Control)

The wideband AGC rides the incoming audio levels like an automatic “hand on the fader”, keeping the average level
more consistent for the following 4-Band AGC stage, enabling it to stay in its “sweet spot”.
WB AGC (Bypass, Engage)

The wideband Automatic Gain Control (AGC) stage can be bypassed if desired, although more
consistency is achieved when this stage is used.
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.
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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. 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 because allowances must be made in later stages to not overload them during the time
when the broadband AGC is adjusting the level downwards.
AGC Rls (AGC Release)

The release control adjusts how fast the AGC recovers from periods of more gain reduction
when the input audio levels fall. Faster release times (higher numbers) result in a more dense
sound. Even though the Omnia uses program controlled release algorithms, setting the control for
extremely fast release times can result in ‘pumping’.
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. Higher numbers cause the gate to activate at higher audio levels. In
most applications this control should be adjusted to cause gating action to occur when the input
audio falls about 20dB below nominal. The action of gate also prevents noise rush up during
periods of no audio or during pauses in speech.
RTZ Speed (Return To Zero Speed)

RTZ stands for Return To Zero. What RTZ does is return the gain of the WB AGC section to an
internally determined amount of gain reduction in the absence of audio. RTZ speed controls how
fast this adjustment takes place – i.e., how long it takes the AGC to move to the target RTZ
platform level.
<-Exit
Click on this option to return to the Adjust Processing submenu.
Enhancers
Deep Bass
Adds ‘girth’ to the audio by enhancing very low frequencies such as kick drum fundamentals or
very low bass notes that may be present in the input audio program.
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. On systems
with larger speakers, the effect of Phat Bass becomes subtler because the extended frequency
response of those systems allows the fundamentals of the low notes to be heard, masking the
added harmonics contributed by Phat Bass. Be careful though, too much Phat Bass boost can lead
to excessive gain reduction in the lower AGC bands and may cause muddiness with certain
program material. A little goes a long way.
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Warmth
This Warm Bass EQ is a shelf boost at 150 Hz. Warmth EQ compensates for program material
that is naturally lacking in upper-bass fullness. Be judicious about applying too much, as the
resonant frequency of many automobile interiors lies in this frequency range! Also, too much can
cause excessive gain reduction in the following 4-Band AGC stage. A little can give a nice, subtle
warmth enhancement to voices and other program material that may otherwise sound too thin.
<-Exit
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. This stage operates on the average level, letting
faster peaks through to the following limiter stage. It dynamically equalizes the program material to add consistency
while gently building up density to keep the following peak limiter stages from working too hard. The output of
each of the 4-Band AGC bands directly feed their corresponding peak limiter stage. The 4-Band Limiter stage
operates on the peak levels of the program material with each band optimized for its frequency range, controlling
peak levels for the following pre-emphasis and clipper stages.
Low Drive
Adjusts the amount of gain reduction in the Low Band AGC. Higher numbers result in more drive
and because of the increased compression, a more consistent output from the band.
Mid Drive
Adjusts the amount of gain reduction in the Mid Band AGC. Higher numbers result in more drive
Pres Drive
Adjusts the amount of gain reduction in the Presence Band AGC. Higher numbers result in more
drive and because of the increased compression, a more consistent output from the band.
Hi Drive
Adjusts the amount of gain reduction in the High Band AGC. Higher numbers result in more drive
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” effect of the 4-Band AGC. This can make the program material sound more
consistent. Be careful though because too much compression can cause the program material to
sound less natural and cause low-level noise in the program material to be brought up.
OV Lim Drv (Overall Limiter Drive)

Adjusts the overall amount of drive to all four bands of the multiband Limiter section
simultaneously over a + / - 6 dB range. Higher settings will increase density. This can increase
loudness but be careful because too much gain reduction in the limiters can lead to a “wall of
sound” effect that can cause the program material to sound “smashed”. Lower settings will reduce
22

the density, providing a more “open”, natural and dynamic sound. It may be helpful to think of the
limiters as “dynamic clipper allocators”, acting as “gatekeepers”, controlling the density of the
audio signal that reaches the following clipper.
<-Exit
Low Band AGC

Attack
The attack control adjusts how fast the AGC responds to sudden increases in audio level, and
with caution so as not to allow later stages to be overloaded during the time when the AGC is
adjusting the level downwards. Likewise, extremely fast attack times (especially when combined
with very slow release times) can “punch holes” or overreact to the band of audio being processed.
Release
The release control adjusts how fast the AGC recovers from periods of more gain reduction
when the input audio levels fall. Faster release times (higher numbers) result in a more dense
sound. Even though the Omnia uses program controlled release algorithms, setting the control for
extremely fast release times can result in ‘pumping’.
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. Higher numbers cause the gate to activate at higher audio levels. In
most applications this control should be adjusted to cause gating action to occur when the input
audio falls about 20dB below nominal. The action of gate also prevents noise rush-up during
periods of no audio or during pauses in speech.
RTZ Speed (Return To Zero Speed)

RTZ stands for Return To Zero. What RTZ does is return the gain of the AGC band to the selected
amount of gain reduction (See RTZ Level below) in the absence of audio. RTZ speed controls
how fast this adjustment takes place – i.e., how long it takes the AGC to move to the target RTZ
level.
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
Mid Band AGC

See description of settings for Low Band AGC
23

Pres Band AGC (Presence Band AGC)
High 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.
To adjust the overall amount of density, use the Overall Limiter Drive control in the Xover
section. See “OV Lim Drv” in the Xover (Crossover) section on Page 22.
LFLim Att (Low Frequency Limiter Attack)

The attack control adjusts how fast the limiter responds to sudden increases in audio level, and
with caution so as not to allow the following Clipper stage to be overloaded during the time when
the limiter is adjusting the level downwards.
LFLim Rls (Low Frequency Limiter Release)

The release control adjusts how fast the limiter recovers from periods of more gain reduction when
the input audio levels fall. Faster release times (higher numbers) result in a more dense sound.
Even though the Omnia uses program controlled release algorithms, setting the control for
extremely fast release times while driving the limiter hard can result in ‘pumping’ as well as
extremely dense-sounding (fatiguing) audio. Also, setting the control for extremely slow release
times (especially when combined with fast Attack times) can cause the limiter to “hang” after a
transient, failing to fully recover and “punching a hole” in its band of frequencies.
LFLim Hold (Low Frequency Limiter Hold Threshold)

During operation of the limiter, the algorithm is watching for very small decreases in audio level,
such as what occurs right after a sudden peak. When this occurs, the limiter release is temporarily
stopped. The result is a drastic reduction in intermodulation distortion and a more open sound,
even though the audio is still quite dense. The level at which the hold takes place is controlled by
the setting of the hold Thresh control. Higher numbers cause the hold to activate at higher audio
levels. The action of limiter hold also works in conjunction with the preceding AGC gates to
reduce noise rush up during periods of no audio or pauses in speech.
Lim Thresh (Limiter Threshold)
This control sets the threshold where audio peak limiting begins. Lower settings will increase the amount of
limiting and decrease the level going to the following Bass Clipper (low band only) or main Clipper stage.
Conversely, higher settings will raise the limit threshold, causing less limiting but feeding more level into
the following Bass Clipper (Low band only) or main Clipper stage. (Mid, Presence and High bands)
Care is needed when adjusting this control because higher settings will cause less limiting to
occur, and the resulting uncontrolled peak energy will go to the following clipper stages instead.
24

Thus, with this control you can artistically trade off the dynamic limiting against brick wall
clipping, as each has its own “sound.”
As the limiter threshold is lowered, (made more negative) the peak output level of the limiter is
reduced. The signal in that band won't hit the clipper as hard, and you'll notice more action on the
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.
Reducing the threshold too much can cause the system to create an effect that “sucks out” the
frequencies in that band. Conversely, the opposite (raising the threshold) will create an
exaggerated effect by over-enhancing certain frequency ranges, as well as causing increased
distortion, since excessive levels from that band will reach the following clipper stage.
Usually, the limiter thresholds are adjusted as a “fine polish” on the final sound. If you are unsure
about how to use the Limit Thresholds, then we recommend that they be left at their well-
researched factory settings.
<-Exit
Click on this option to return to the Adjust Processing submenu
Mid Band Limiter

See description of settings for Low Band Limiter
Presence Band Limiter

High Band Limiter

Bass Clipper
The Bass Clipper operates between the output of the Low Band Limiter and the Low Band Mixer, the output of
which feeds the main Clipper. Its purpose is to keep excessive bass out of the main Clipper, reducing bass-induced
IM (intermodulation) distortion while keeping and even enhancing the bass punch of the program material. There
are two different Bass Clipper styles available, “Girth” and “Tight”. (Described below.)
Clip Drv (Bass Clipper Drive)
Adjusts the drive level to the Bass Clipper over a range of +/- 6 dB. Higher settings will increase
the amount of Bass Clipping, increasing bass density while keeping the actual peak bass level fed
to the Mixer the same This allows you to reduce the Low Band Mixer control to reduce IM
distortion in the following main Clipper 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.
Girth Clip
When “ON”, this Bass Clipper style is designed to create a phatter effect to low frequencies, and it
will help create the illusion of more bass on smaller speakers. Also, this algorithm, which is
25

mathematically derived, will contribute lower midrange IM distortion components to the
spectrum. So live voice, vocals and solo instruments that are present along with strong bass in the
program material will sound cleaner, yet will still create an in-your-face effect to the low end.
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. 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. Both algorithms can be “ON” at the same time but this is not recommended.
Filtering
Adjusts the amount of time-aligned low-pass filtering after the Bass Clipper. Normally this extra
filtering is not needed but if heavy amounts of Bass Clipping are being used, especially when
using the “Tight” Bass Clipper style, the filtering can help reduce distortion or artifacts and can
provide a “rounder” and smoother bass sound.
<-Exit
Click on this option to return to the Adjust Processing submenu
Mixer
This is the final summing point for each of the multiband limiter sections before the signal reaches the final clipper.
Care should be used when adjusting this section, as too much level from any particular band could cause an
excessive amount of clipping distortion to that range of frequencies. Adjusting all 4 controls an equal amount is
virtually the same as adjusting the Clip Drive control. If your desire is to provide some custom “EQ” to the sound, it
is better to perform that function using the Xover or Limiter Drive controls instead of the Mixer controls. Like the
Limiter Threshold controls, the final Mixer is mainly for minor “fine polish” to the overall sound. Adjustments in
this section must be done with care
Low Band
Adjusts the output level of the Bass Clipper into the following main Clipper stage. Higher
numbers result in more low frequencies (bass) but too much mix level can make the following
clipper work too hard on low frequencies, causing excessive distortion.
Mid Band
Adjusts the output level of the mid band limiter into the following main Clipper stage. Higher
numbers result in more midrange but too much mix level can make the following clipper work
unnecessarily hard, causing excessive distortion in mid-band program material such as voice.
Presence Band
Adjusts the output level of the presence band limiter into the following Final Limiter stage. Higher
numbers result in more presence but too much mix level can make the following clipper work
unnecessarily hard, causing excessive distortion in presence band program material.
26

Hi Band
Adjusts the output level of the high band limiter into the overall mix. Higher numbers result in
more high frequencies and too much mix level can make the following clipper work unnecessarily
hard, causing excessive distortion in the treble.
<-Exit
Clipper
The Clipper is the OmniaONE’s final limiting stage. Here is where the OmniaONE’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.
This is the primary control over the “loudness vs. distortion” tradeoff. It is advisable to make
minor changes, primarily as the 'loudness fine tuner'. Be careful! There is a lot of available power
here!
We suggest that each time you try a new factory preset, you adjust the Clip Drive as follows: Start
with the default setting for a preset and adjust it down in 0.5 dB steps until the loudness just drops
below the desired level and then bring it up slightly from there. This should be the optimum
setting for your station and market.
Clip Silk
This control adjusts the texture of the main clipper when the clipper is handling significant mid
and upper midrange program material such as solo electric guitar, etc. We've brought out a hidden
control from the distortion-canceling algorithm to allow you to make subtle tradeoffs in how the
final clipper texture sounds. Higher numbered settings (clockwise) soften (or silken) the sound of
the clipping at higher frequencies, with only a slight reduction in brightness on some material. The
sound of clipping low frequency material (<2Khz) is largely unaffected.
Comp Drv (Composite Clipper Drive)

This controls the drive to the DSP-based composite clipper in the Stereo Generator. A setting of
0.0dB is the same as the clipper being “off “. This clipper operates on the entire baseband signal
up to 53kHz, except for the 19kHz pilot. No matter how hard you drive the composite clipper, you
cannot clip the stereo pilot. Embedded within the composite clipper is a 53Khz phase linear low
pass filter for SCA protection. This filter removes clipping harmonics and prevents them from
affecting the SCA and RDS region.
<-Exit
<-Exit
Click on this option to return to the Processing menu.
27

Input/Output
This submenu provides level adjustments for the audio inputs and the absolute peak operating level of the Analog
XLR, Composite MPX, AES-3 (AES/EBU) and Livewire outputs. Choices governing the selection of the input
audio source (Analog, AES Digital or Livewire) and signal mode (Stereo or Mono) are also found within these
submenus. There is also a setting to disable Livewire.
These I/O settings are generally “set once and forget” parameters, usually adjusted during initial installation and
then left alone. These I/O settings are not saved with a processing preset but can be saved, loaded, deleted or
renamed as “I/O Configurations” using options available in this submenu.
Mtr Select (Meter Select)

Selects whether the Input levels, Analog Output levels, AES/EBU Output levels or LW (Livewire) Output levels
are displayed on the front panel L & R LED bargraph meters.
Input
There are eleven controls under the heading “Input” and each will be explained in the order in which they
appear in the menu:
<-Exit
Click on this option to return to the Input/Output menu.
Input Src (Input Source)

Allows the selection of Analog, AES/EBU (digital) or Livewire as the primary input source to the
OmniaONE.
Fover Time (Failover Time)

Failover Time is a feature that when set to a value other than zero (disabled) allows the
OmniaONE to automatically select another input source if the currently selected one fails.
Failover Time is the amount of time that will elapse after the failure of audio on the primary input
source before the unit makes the decision to switch to the secondary (failover) input source. For
instance, if Failover Time is set for 5 seconds and the primary audio source fails, 5 seconds later
the unit will switch to the secondary audio input if that input is active. If, at any time, audio is
restored on the primary input (for 1 second, continuously), the unit will switch back to the primary
audio input. It will remain with the primary input unless another failure is detected.
Fover Src (Failover Source)

Failover Source selects which audio input: Analog, AES/EBU (digital) or Livewire will serve as
the secondary audio input. Note that the audio input that is selected under Input Source (above)
will always be the Primary audio input. A source selected under Failover Source will always be
the secondary source.
28

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 Proper Setting of Input Levels on Page 11)
Right Trim
Allows a +/-3dB adjustment of the right analog audio channel gain to correct minor left/right
balance problems in the input audio. The left channel analog input gain is not affected by this
control and is set using the master Analog Level control previously described.
AES Level (AES/EBU Level)

Adjusts the master audio input level for the AES Digital input, which is derived from the rear
panel RJ-45 StudioHUB® connector. (See Proper Setting of Input Levels on Page 11)
Right Trim
Allows a +/-3dB adjustment of the right digital audio channel gain to correct minor left/right
balance problems in the input audio. The left channel digital input gain is not affected by this
control and is set using the master AES Level control previously described.
LW Level (Livewire Level)
Adjusts the master audio input level for the Livewire input, which is derived from the rear panel
Ethernet / Livewire RJ-45 connector. (See Proper Setting of Input Levels on Page 11)
Right Trim
Allows a +/-3dB adjustment of the right Livewire audio channel gain to correct minor left/right
balance problems in the input audio. The left channel Livewire input gain is not affected by this
control and is set using the master LW Level control previously described.
Invert
Permits audio phase inversion to be performed in the following combinations:
[None] – No Channel inversion is performed (factory default)

[Both] – Both left and right channel phase is inverted.
“Both” is typically selected if it sounds “better” to an announcer (monitoring themselves in

headphones using the output of the processing) than “None”. One of the two settings should. The
goal is to make the relative phase of the headphone feed more in phase with the announcer’s own
bone conduction. Once set, this setting should remain the same for all announcers using the same
headphone feed.
[L] – Only the left channel phase is inverted.

[R] – Only the right channel phase is inverted.
NOTE: These settings are present as a convenience to correct 180-degree stereo phase errors in
the input audio to the processor or in another device after the processor.
29

Mono Mode
Allows input signal routing to be reconfigured as follows:
[STEREO] - Factory default. Left and Right input channels are routed to the left and right
inputs to the DSP processing chain.
[Mono L] - Configures the DSP processing chain to have both the Left and Right internal
channels fed only from the Left Channel of the input source selected. Note that this selection is
active in all sources selected as Primary and Secondary (Failover) audio sources.
[Mono R] - Configures the DSP processing chain to have both the Left and Right internal
channels fed only from the Right Channel of the input source selected. Note that this selection is
active in all sources selected as Primary and Secondary (Failover) audio sources.
[Mono L+R] - Configures the DSP processing chain to have both the Left and Right internal
channels fed from the sum of the Left Channel and Right Channels of the input source selected.
Note that this selection is active in all sources selected as Primary and Secondary (Failover) audio
sources.
[SWAP] - Configures the DSP processing chain to swap the Left and Right internal channels,
that is, the DSP Left Channel is fed from Right Channel input and the DSP Right Channel is fed
from the Left Channel input. Note that this selection is active in all sources selected as Primary
and Secondary (Failover) audio sources.
<-Exit
Output
There are eight controls and the “FM Options” submenu under the heading “Output” and each will be explained
in the order in which they appear in the menu:
<-Exit
Anlg Level (Analog Level)

Adjusts the master audio Output level for the analog outputs which appear on the rear panel XLR
male connectors. This control adjusts both the left and right stereo channels simultaneously.
Right Trim
Allows a +/-3dB adjustment of the right analog audio channel gain to correct minor left/right
balance problems in equipment following the OmniaONE. The left channel output gain is not
affected by this control and is set using the master Analog Level control previously described.
AES Level (AES/EBU Level)

Adjusts the master audio Output level for the AES Digital Output which appears on the rear panel
RJ-45 StudioHUB® connector.
30

Right Trim
Allows a +/-3dB adjustment of the right digital audio channel gain to correct minor left/right
affected by this control and is set using the master AES Level control previously described.
Samp. Rate (Sample Rate)
Configures the Output Sample Rate. Options are as follows:
[48k]
Slaves the output sample rate to the Omnia’s internal 48kHz sample clock. To use output
sample rates other than 48 kHz, Input or External sync must be used.
[Input]
Slaves the output sample rate to the sample rate present on the Omnia’s AES
digital input. Synchronization is possible over a range of sample rates from 32kHz to
96kHz.
[Ext] (External)
Slaves the output sample rate to the sample rate present on the Omnia’s AES
SYNC input. Synchronization is possible over a range of sample rates from 32kHz to
96kHz.
LW Level (Livewire Level)

Adjusts the master audio Output level for the Livewire output which appears on the rear panel
Ethernet / Livewire RJ-45 connector. This control adjusts both the left and right stereo channels
simultaneously.
Right Trim
Allows a +/-3dB adjustment of the right Livewire audio channel gain to correct minor left/right
affected by this control and is set using the master LW Level control previously described.
FM Options
For the transmission side of conventional FM broadcasting, some form of high-frequency boost, or pre-
emphasis is used. The most commonly used values of pre-emphasis are 50 and 75 µs (microseconds). For
North and South America, 75 µs is used. In Europe, Australia and New Zealand, 50 µs is employed. The
factory default pre-emphasis setting is 75 µs. The pre-emphasis selection affects the operation of the audio
processing and is applied to the composite, discrete, and digital outputs. The pre-emphasized signal at the
Left/Right and AES/EBU digital outputs can be restored to flat, if needed, by the De-Emphasis control
<-Exit
Click on this option to return to the Output submenu.
[Pre-emph] (Pre-emphasis)
There are three choices: Off, 50 µs or 75 µs. Rotate the jog wheel to display the correct
value for your system and click the jog-wheel.
31

Note: Normally, the “Off” selection under the Pre-emphasis options would not be used in
conventional FM transmission applications, but is provided in instances where processing
of a flat signal is desired. One example would be when preprocessing prior to a satellite
uplink in distributed radio networks.
[Ana De-emp] (Analog De-emphasis)

This control sets the De-emphasis for the analog XLR outputs. It does not affect the
headphone jack output, which has its own automatic de-emphasis. There are two choices
for De-emphasis: “On” and “Off”. When on, the De-emphasis automatically follows the
setting of the Pre-emphasis control.
[AES De-emp] (AES/EBU De-emphasis)

This control sets the De-emphasis for the AES/EBU digital output. There are two choices
for De-emphasis: “On” and “Off”. When on, the De-emphasis automatically follows the
setting of the Pre-emphasis control.
[LW De-emp] (Livewire De-emphasis)

This control sets the De-emphasis for the Livewire output. There are two choices for De-
emphasis: “On” and “Off”. When on, the De-emphasis automatically follows the setting
of the Pre-emphasis control.
IMPORTANT NOTE: The De-emphasis should normally be set to “Off” when feeding an
outboard digital exciter, stereo generator or discrete, uncompressed studio-transmitter link (STL).
In these kinds of installations it is very important that the OmniaONE FM is the ONLY device
applying the pre-emphasis. All other equipment following the OmniaONE FM must have their
pre-emphasis disabled for optimum peak modulation control and sound quality.
When set to “On”, these outputs can also be de-emphasized for applications that require a flat
frequency response, such as when used for monitoring.
ITU BS-412 Power Limiter

In certain parts of the world, the average multiplex signal power must be controlled to reduce
adjacent channel interference. The currently enforced standard falls under the ITU BS-412
regulations. The OmniaONE FM has a very effective Multiplex Power Limiter that may be
enabled to comply with these regulations.
Loudness Loss Warning!

If your country's regulatory agency does not require the use of the ITU BS-412 Multiplex Power
Limiter, make certain that the BS-412 Power Limiter is set to “Off”, or severe loss of loudness
will result! For example, when the ITU BS-412 Power Limiter is switched on and set at 0.0dB,
there is approximately a FIVE dB loudness loss over the limiter being switched off!
[BS-412]
This control enables (On) or disables (Off) the BS-412 Power Limiter. The default
setting is Off.
[BS-412 Lim]
When On above, this control sets the average multiplex power from -3.0dB up to 9.0dB
(in 0.25dB steps) with respect to the original 0.0dB ITU BS-412 standard.
32

<-Exit
Click on this option to return to the Output submenu
<-Exit
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.
This is to be used only in non-Livewire systems if the Livewire packets “flood” your network when trying to
use an Ethernet remote control connection.
Stereo Generator
SCA Input Gain (Trimpot On Rear Panel)
The SCA Input Gain control is an analog trimpot and does not appear in the menu. This trimpot is located
just above the SCA Input BNC jack on the rear panel.
Signals input to the SCA jack are simply mixed into both composite outputs through the Gain trimpot.
The gain range is from 0.034 (-29dB) to 1.35 (+2.6dB). At the lowest gain setting, you can feed it a 10V
SCA signal and get 8.6% injection on a 3.6V composite output setting. At the highest gain setting, you can
feed it a 0.25V SCA signal and get 8.6% injection on a 3.6V composite output setting. (The composite +
9% pilot should be 3.6 Vp-p in these cases. The SCA adds to this, making the total higher and the SCA
8.6% of the total).
There are five controls in the Stereo Generator menu and each will be explained in the order in which they
appear in the menu.
[Comp #1]
[Comp #2]
These composite MPX output level controls individually set the level at the two separately
buffered rear-panel composite outputs over a range of 0 to 10 volts in precise 0.05v increments.
Rotate the jog-wheel to select the desired output, click and rotate to adjust the modulation level for
each composite output. Once the desired peak modulation level is displayed, click the jog-wheel to
set the level and return to the Stereo Generator menu.
NOTE: Always use typical program material and a calibrated modulation monitor to properly set
modulation. To aid quick adjustment, it sometimes helps to advance the Clipper Drive control
before adjusting the composite outputs. Note that reference line-up tones applied at the Omnia’s
input cannot be used since the RMS level of a steady state tone does not crest at 100%
modulation.
[Pilot Lvl] (19 kHz Stereo Pilot Level)

Sets the pilot injection level from 4.0% to 12.0%, in 0.1% steps, relative to 100% modulation. To
defeat the pilot, simply adjust the Pilot Injection control below 4% and the control indicates “Off”.
[Pilot Phs] (Pilot Phase)

This parameter sets the phase relationship between the 19 kHz pilot and the 38 kHz suppressed
carrier. The system default is 0.0º. The performance of the DSP based digital stereo generator is
33

theoretically perfect, however should the phase need adjustment in order to offset time domain
errors in the overall transmission system, the pilot phase can be adjusted ±32º, in 1º increments.
We recommend that a calibrated modulation monitor be used for this adjustment.
[Separation]
The stereo “sound field” can be reduced by 3 dB or 6 dB to suppress processing-induced multipath
that can occur in certain terrain and within certain transmission systems when heavy processing is
used. When a setting of -3 dB or -6 dB is used, the amount of L-R (perceived stereo effect) is also
reduced. However in difficult RF signal coverage areas, the amount of perceived multipath is
reduced as well, resulting in the perception of a much cleaner overall signal with better penetration
and coverage. The OmniaONE 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.
<Exit
Bypass
[Process]
This is the normal default setting where all processing will be active.
[Bypass]
This setting will bypass all processing for test purposes.
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. Use this to save your I/O configuration as the
system default or save more than one configuration if the unit will be used with different external
equipment configurations. These saved configurations can be recalled using the “Load IO
Config” option. To save an IO configuration proceed as follows:
Highlight “Save IO Config” and click. “Name” will be highlighted and the Name field will
display “<none>” if no previous configurations have been saved or it will automatically display
the currently loaded configuration’s name. If you wish to overwrite this existing configuration
with your changes, just rotate the jog wheel clockwise to highlight the Save button and click. Your
changes will be saved to the existing configuration preset.
If instead, you wish to save your changes as a new configuration preset with a different name,
click the jog wheel while “Name” is highlighted and the editing cursor will appear, highlighting
the first character of the existing preset name. This is “select” mode. (If no previous configurations
were saved, “<none>” will vanish and be replaced by the editing cursor.)
If an existing preset name is present, you can scroll left and right through its text by rotating the
jog wheel knob. Be careful not to scroll clockwise past the blank space just after the last character
in the name or “select” mode will be cancelled. If this happens, simply rotate the knob counter-
clockwise until “Name” is highlighted and click to re-enter “select” mode.
When you reach the character you want to edit, click. This puts the cursor in “edit” mode. You can
now change that character by scrolling through the character list with the knob. When the desired
34

character is found, click. This will return the cursor to “select” mode and you can again turn the
knob to select the next character to edit.
-To delete a character... Select the character to be deleted, click, choose the " < " symbol and click
again to delete that character. Characters can only be deleted one at a time.
-To insert a character between 2 existing characters... Select the character just after where the new
character is to be inserted, click, choose the " ^ " symbol and click again. The new character
appears. Now rotate the knob to select the desired character for it and click to accept. (Note that
this inserts a new character before the one selected, and keeps the originally selected character
intact as what it was before choosing "^")
When you are finished, simply rotate the knob clockwise with the cursor in “select” mode until the
Save button is highlighted and click to save the configuration preset.
-To cancel at any time without saving… With the cursor in “select” mode, rotate the knob
clockwise until Cancel is highlighted and click.
Load IO Config
This option allows you to select and load a previously saved IO configuration.
To load a saved IO configuration, highlight “Load IO Config” and click. Rotate the jog wheel
until the desired IO configuration is displayed and click. To exit without loading a configuration,
rotate the jog wheel until *cancel* is displayed and click.
Delete IO Config
This option allows a previously saved IO configuration to be deleted.
To delete an IO configuration highlight “Delete IO Config” and click. Rotate the jog wheel to
display the IO configuration to be deleted. Click the jog wheel and that named configuration will
be instantly deleted. To exit without deleting a saved configuration, rotate the jog wheel until
*cancel* is displayed and click.
Rename IO Config
This option allows a previously saved IO configuration to be renamed.
To rename an IO configuration highlight “Rename IO Config” and click. Rotate the jog wheel to
display the IO configuration to be renamed and click. Enter the new configuration name as
described above in the Save IO Config section. To exit without renaming a configuration, rotate
the jog wheel until *cancel* is displayed and click.
<-Exit
35

Administrative
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 OmniaONE 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.
Network Configuration
Allows customization of the network interface configuration. Available parameters are:
IP (IP Address)
Accepts data in the form of four octets to describe the Ipv4 network address assigned to
the OmniaONE’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 . 168 . 0 . 200

Subnet (Subnet Mask)
Accepts data in the form of four octets to describe the Ipv4 network subnet mask of the
OmniaONE’s network interface. The entries have the form of:
255 . 255 . 255 . 0

Gateway
Accepts data in the form of four octets to describe the Ipv4 gateway address assigned to
the OmniaONE’s network interface. The entries have the form of:
192 . 168 . 0 . 1
<-Exit
Click on this option to return to the Administrative menu.
Reboot
When selected, initiates a complete system reset, which includes reloading the internal operating
system, DSP processing code, and values from the current processing preset and IO configuration.
36

Security
Remote Con (Remote Control)
[Enabled] Enables remote control access.

[Disabled] Disables remote control access.
Enter Password
Sets the password for both the front panel and remote control access.
The default password is “omnia” (all lower case)
To change the password highlight “Enter Password” and click. The Name field will be
automatically highlighted with <none> displayed. Click and <none> will vanish and be replaced
by the editing cursor.
Rotating the jog wheel clockwise will scroll through the capital letters of the English alphabet
first. Rotating it counter-clockwise will scroll through the numeric characters first, and then
through the lower case English alphabet. In-between is a blank space with an underscore character.
Once the desired character is found, click to accept that character.
Click again to display the editing cursor and add the next character the same way.
When you are finished and the new password is complete, do not click again to display the editing
cursor. Instead, rotate the jog wheel to highlight the “Save” button and click to save the password.
If you wish to cancel without saving the new password, rotate the jog wheel to highlight
“Cancel”, click to accept and the operation will be cancelled. The existing password will be
retained.
<-Exit
Click on this option to return to the Administrative menu.
<-Exit
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.
To lock the front panel, highlight “Lock Front Panel” and click.
A warning message will be displayed: “Locking front panel requires password to regain access!”
Rotate the jog wheel and click on “OK” to lock the front panel or “Cancel” to return to the Main Menu without
locking the front panel.
The factory default password is “omnia” (all lower case).
Changing the password is done using the “Enter Password” option in the Security section above.
37

Unlocking the Front Panel
To unlock the front panel, rotate the jog wheel to highlight “Password”, click twice and <enter…> will be replaced
by the editing cursor.
Rotating the jog wheel clockwise will scroll through the capital letters of the English alphabet first. Rotating it
counter-clockwise will scroll through the numeric characters first, and then through the lower case English alphabet.
Once the desired character is found, click to accept that character, rotate the jog wheel one notch clockwise to
advance the cursor to the next position and click again to display the editing cursor.
Enter the next character of the password the same way.
The factory default password is “omnia” (all lower case).
When you have entered the last character of the password, do not click twice to display the editing cursor. Instead,
click only once to accept the final character and rotate the jog wheel to highlight the “OK” button.
Click on “OK” to accept. If the password was correct, the screen should display the Main Menu.
38

Appendix A: Performance Specifications
OmniaONE FM
As of July 2007 – Version 1.0 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"
preset.
General Audio Specifications
Frequency Response: Complies with the standard 50 or 75 microsecond pre-emphasis curve

within ± 0.50 dB, 30 Hz to 15 kHz. The analog left/right outputs and
AES/EBU Digital outputs can be configured for flat or pre-emphasized
output.
System Distortion: Less than 0.01% THD, 20 Hz – 7.5 kHz. Second harmonic distortion
above 7.5 kHz is not audible in the FM system.
*Signal-Noise Ratio: > -80 dB de-emphasized, 20 Hz –- 15 kHz bandwidth, referenced to

100% modulation).
*The measured noise floor will depend upon the settings of the Input and Output Gain controls and is primarily governed
by dynamic range of the Crystal Semiconductor CS5361 A/D Converter which is specified as >110 dB. The dynamic range
of the internal digital signal processing chain is >144 dB.
Stereo Separation: Greater than 65 dB, 20 Hz –- 15 kHz; 70 dB typical..
Crosstalk: > -70 dB, 20 Hz -- 15 kHz.
Composite Outputs: Source Impedance: 5 ohms or 75 ohms, jumper-selectable. Single-ended

and floating over chassis ground.
Output Level: 0V to 10V in 0.05V steps, software adjustable.
D/A Conversion: Texas Instruments/Burr Brown PCM1798, 24-bit sigma-
delta converter.
Configuration: Two electrically independent outputs. Software based
level adjustment.
Load Impedance: 50 ohms or greater load is suggested.
Pilot Level: Adjustable from 4.0% to 12.0% in 0.1% steps and OFF.
Pilot Stability: 19 kHz, ± 0.5 Hz.
Signal-to-Noise Ratio: -85 dB typical, 75 μS de-emphasized, 15 kHz
bandwidth, referenced to 100% modulation).
Distortion: < 0.02% THD 20 Hz – 15 kHz bandwidth, 75 μS de-
emphasized, referenced to 100% modulation.
Stereo Separation: > 65 dB, 30 Hz – 15 kHz.
39

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: > 80 dB (referenced to 100% modulation).
Pilot Protection: > -65 dB relative to 9% pilot injection, ± 1 kHz.
57 kHz (RDS/RBDS) Protection: better than -50 dB.
Connectors: Two EMI suppressed female BNC, floating over chassis ground.
Maximum Load Capacitance: 5nF (at 10 ohms source impedance).
Maximum cable length: 100 feet/30 meters RG-58A/U.
Analog Audio Input: Left/Right Stereo.

Electronically balanced.
Input impedance 10k ohms resistive.
Maximum Input Level: +22 dBu.
Nominal Input Level: +4dBu, which nets a -18dBFS input meter reading
on a steady-state signal when the Input Gain control is set to 0.0dB.
Program material with a nominal average level (VU reading) of +4dBu
will typically produce peak readings on the input meter in the range of -12
dBFS to -6dBFS. This is the correct operating level.
A/D Conversion: Crystal Semiconductor CS5361, 24 bit 128x over-sampled delta sigma
converter with linear-phase anti-aliasing filter. Pre-ADC anti-alias filter,
with high-pass filter at <10 Hz.
Connectors: Two, EMI-suppressed XLR-female. Pin 1 chassis ground, Pin 2 "Hot".
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.
Connectors: Two, EMI-suppressed XLR-male. Pin 1 chassis ground, Pin 2 “Hot".
Digital Audio Input: Configuration: Stereo per AES/EBU standard, CS8420 Digital Audio
Transceiver with 24 bit resolution, software selection of stereo, mono
from left, mono from right or mono from sum. Automatically accepts
and locks to input sample rates between 32 and 108 kHz.
40

Connector: EMI-suppressed RJ-45 female pinned according to StudioHub+®
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.
Connector: EMI-suppressed RJ-45 female according to StudioHub+® standards.

Transformer isolated, balanced, and floating according to AES3 standard.
Digital Output Level:

-24.0 to 0.0 dBFS peak, software adjustable in 0.1dB steps.
External Sync Input:

External Sync: Allows the output sample rate to be synchronized to an
AES3 signal applied to the Ext. Sync input connector. (Does not accept
Word Clock inputs)
Connector: EMI-suppressed RJ-45 female according to StudioHub+® standards.

Transformer isolated, balanced, and floating according to AES3 standard.
External Sync Range:

Automatically accepts sample rates between 32kHz and 96kHz.
Connector: EMI-suppressed RJ-45 female pinned according to StudioHub+®

standards, Transformer isolated, balanced, and floating according to AES3
standard.
Remote Control Methods:

Modem, Direct RS-232 Serial, or 10/100BaseTX Ethernet.
--Modem (support not yet available as of software version 0.94): User-
supplied Hayes command compatible external serial modem connected to
rear-panel DB-9 male serial port.
-- Direct Serial (support not yet available as of software version 0.94):
Standard RS-232, no hardware handshaking employed, baud rates of
9600-56k Baud.
-- 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; there is nothing to install on the user's computer.
GPI Interface: Support not yet available as of software version 0.94
Connector: EMI suppressed DB-9 female.
41

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. Full international safety approval. CE marked.
Environmental: Operating Temperature: 32 to 122 deg. F / 0 to 50 deg. C for all operating

voltage ranges. Humidity: 0-95% RH, non-condensing.
Dimensions: 19" wide x 1.75" high x 16" deep (48.26cm wide x 13.335 cm high x
40.64 cm deep) including connectors. Unit requires one EIA rack space
for mounting.
Shipping Weight: 12 lbs. / 5.5 kg
StudioHub® is a registered trademark of Radio Systems.
Telos/Omnia Research and Development is constantly working to improve the quality of our products.
Actual specifications are subject to change or improvement without notice.
42

Appendix B: Troubleshooting/Service/Warranty
Operational problems with the OmniaONE can sometimes be diagnosed using the RS-232 serial port located inside
the top cover of the unit (NOTE: This is not the rear panel “RS-232 MODEM” connector) and a common terminal
communications program. Detailed information about the Omnia's boot-up progress may be observed at this internal
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 OmniaONE problems in the field, and also how to obtain help or
repair service from Omnia.
To take complete advantage of this functionality, you only need a standard terminal program for DOS, Windows, or
other operating system. It must be configured for a default baud rate of 19200, no hardware handshaking, and using
a terminal emulation for VT100. At Omnia, we commonly use the Hyperterminal© program that ships with
Microsoft Windows©, but you can use whatever program you are familiar with. Please see the examples below for
how we've set up our connection:
Once these parameters have been entered and saved as a connection profile, they can be used to capture and display
(and print) the output of the OmniaONE’s RS-232 internal serial port during boot up.
43

Diagnostics and Error Messages
To run a system diagnostics check of the OmniaONE 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.

You can select the text and then copy and paste into an email or email a screen shot to if requested to do so by your
Telos/Omnia factory Customer Support Engineer. For contact information, see Obtaining Service on Page 46.
44

Electrical and mechanical safety note!
When the Omnia is operated with its chassis top cover removed, you are exposed to potentially lethal voltages.
Before attempting to make voltage measurements, be forewarned that the power supply heat sinks are connected to
the AC power line. Avoid these areas whenever the AC power cable is attached to the Omnia. Never attempt to
make measurements when the power supply's safety cover is removed.
When reinstalling the top cover, make certain that all thirty screws are replaced, and that they are tightened to a snug
fit. Operating the unit with its cover removed or without all of the retaining screws will void your warranty and may
compromise the ability of the Omnia to operate in high RF environments.
Narrowing down problems

When actually troubleshooting your OmniaONE, 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. The unit is totally dead. Is the power on? Is the line cord plugged into an outlet that has AC power? Is there an
audio input level? Is there an audio output level? Is there a power indication? Is the LCD screen blank, scrambled, or
not illuminated? Symptoms like these might indicate a power supply problem. If you wish to examine the power
supply, be aware that it is switching type, and therefore requires a load in order to start up and operate properly.
Voltages measured when the power supply is not connected to the Omnia motherboard may not be correct.
2. The unit has power, but there is no audio output although the processing bargraphs are working. The first
thing to verify is whether the front panel jog-wheel is operational. Verification of front panel operation helps narrow
down where the problem is. Look at the metering display. If there is input audio but no output audio indications, try
cycling the unit’s power. If that doesn’t bring the operation back to normal, then a hardware failure of some sort has
occurred. If you get output levels but have no output audio, verify that the outputs are connected correctly. An
analog output connected to a digital device, or a digital output connected to an analog device won’t pass audio!
Connect the appropriate test generator to the output cables to verify analog/digital audio is making it to the next
device.
The next condition to check is to see if the failure has caused the processing to cease. Using program material, check
to see if the processing bargraphs are operating. If they are, then it’s a good indication that the basic DSP structure is
sound and the system's host processor is working. At this point, it would be a good idea to see if the loss of audio is
confined to only one output port, e.g. the discrete left/right outputs or the AES/EBU output. Check the signal at each
of these locations. If the signal is dead at all three, then this points to a digital audio problem after the dynamic
processing DSP chips. If one of the output sections is not operating, then it can be localized to that specific section.
Note: The discrete left/right outputs are operated from their own specialized Digital to Analog converters.
Therefore, it's possible for one type of output to fail without affecting the other. Likewise, a failure in the AES/EBU
driver section could result in the digital output being dead, while the rest of the system is operational.
45

Obtaining Service
• Omnia Customer Support personnel are available in Cleveland, Ohio, USA, Monday through Friday
between 9:00 A.M. and 6:00 P.M., Eastern Time. If outside the U.S.A., please contact the dealer you
purchased your Omnia from.
• 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. Units that are returned without a RA number will experience delays in service.
• Return the Omnia in its original shipping carton if possible. For best treatment, shipping the Omnia in its
original factory box protects it as well as possible. Damage caused by improper packaging is not covered
under your warranty!
Note: To ensure prompt service, the Return Authorization (RA) number must be
written prominently on or near the shipping label on the box!
Via the World Wide Web

The Omnia Web site has a wide variety of information that may be useful for product support, applications
information, software updates, etc. The URL is: http://www.omniaaudio.com/
Via E-Mail
The customer service e-mail address for Omnia is: [email protected].
Via Phone & Mail (USA and non-European Countries)

Customer service is available by telephone, Monday – Friday between 9:00 A.M. and 6:00 P.M., USA Eastern time
zone.
Phone: +1.216.241.7225 Fax: +1.216. 241.4103
Shipping Information: * Telos / Omnia
2101 Superior Avenue
Cleveland, Ohio 44114 USA
ATTN: To the RA number obtained from Omnia Customer Service
Note: To ensure prompt service, the Return Authorization number must be written
prominently on or near the shipping label on the box.
46

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.
Software-only items are warranted to be free from defects in material and workmanship for a period of 90
days from the date of receipt by the end-user.
This warranty is void if the Products are subject to Acts of God, including (without limitation) lightning;
improper installation or misuse, including (without limitation) the failure to use telephone and power
line surge protection devices; accident; neglect or other damage.
EXCEPT FOR THE ABOVE-STATED WARRANTY, OMNIA MAKES NO WARRANTIES, EXPRESS OR

IMPLIED (INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A
PARTICULAR PURPOSE).
In no event will Omnia, its employees, agents or authorized dealers be liable for incidental or
consequential damages, or for loss, damage, or expense directly or indirectly arising from the use of any
of the Products or the inability of the end-user to use any of the Products either separately or in
combination with other equipment or materials, or from any other cause.
In order to invoke this Warranty, Omnia must receive notice of a warranty claim within the above-stated
warranty period and Omnia must authorize warranty coverage. If Omnia authorizes the performance of
warranty service, the defective Product must be delivered, shipping prepaid, to: Omnia, 2101 Superior
Avenue, Cleveland, Ohio 44114.
Omnia, at its option will either repair or replace the Products and such action shall be the full extent of
Omnia’s obligation under this Warranty. After the Products are repaired or replaced Omnia will return
them to the party that sent the Products, and Omnia will pay for the cost of shipping.
Omnia’s authorized dealers are not authorized to assume for Omnia any additional obligations or
liabilities in connection with the dealers’ sale of the Products.
Omnia products are to be used with registered protective interface devices that satisfy regulatory
requirements in their country of use.
47

48

Appendix C: Remote Control and Software
Update Procedure
Remote Control
The above screenshot shows the Processing screen of the OmniaONE’s built-in remote control
applet. This is a Java applet that requires the Java Runtime Environment (JRE) from Sun
Microsystems, version 1.4 or higher, to be installed on your computer. Once JRE is installed,
the Remote Control applet is accessed through the OmniaONE’s built-in web page interface
via TCP/IP.
The latest version of JRE (for Windows, Solaris, Linux and Apple Mac OS) is available here:
http://www.java.com/en/download/manual.jsp
Once Java is installed on your computer, using a Web browser, connect to the IP address of your OmniaONE as
follows: (see Network Configuration on Page 35 if you need to enter the Network parameters into the OmniaONE)
1. Open a standard Web Browser on your computer

and connect to the OmniaONE by entering:
http://xxx.xxx.x.xxx/ in the browser’s address bar
where the x’s in the example above are replaced
with the OmniaONE’s IP address. Once
connected you should see the Login screen:
2. Enter the Password (the default is “omnia” – all

lower case) and click on the “Login” button. (Or simply press “Enter”)
49

The Main Menu should appear:
Remote
Click on the “Remote” link option from the top menu or “Meters & remote control” from the Main Menu.
You may see the Java logo and then the main Remote Control screen should appear. If audio is present on the
OmniaONE’s inputs, you should see the meters moving along with the audio. A small amount of flickering is
normal as the meter information is updated but if it is excessive or the meters are not moving smoothly, check your
network connection and/or update your video card drivers or settings.
There are 6 “tabs” in the FM style Remote Control applet: Preset, Processing, In, Out, IO and Encode.
Preset Tab
To enter the Preset menu, click
on the “Preset” tab and the
Preset dialog will appear:
From the Preset menu, you can

select, save and delete presets
stored in the OmniaONE unit.
These are the same operations
that can be performed from the
OmniaONE’s front panel, but
consolidated on a single menu.
To select a preset and put it “on the air”, double-click on it in the preset list, or highlight it and click the “Select”
button.
Note: In the current software, when selecting presets from the remote, the Preset: name will not be refreshed on the
OmniaONE’s front panel. To refresh the front panel preset name, simply click the OmniaONE’s jog wheel to enter
one of the menus and then click “<-Exit”. (Or enter the Preset menu, rotate the Jog Wheel to the right and select
“Cancel*”
To save changes to the currently running user preset (as shown in the gray status bar at the bottom of the remote
window), click the “Save Current” button. It does not matter what preset is highlighted in the preset list. The
currently running preset will be updated with your changes.
50

To save the current settings as a new preset, click the “Save Current As” button. A new applet window will open
with a dialog box where you can type the name of the new preset. For convenience, there is also a dropdown menu
where you can select an existing preset name to start with. Once the new preset name appears as desired, click the
“Save” button. The new preset will be saved to the unit and will appear in the preset list. To cancel without saving,
simply close the applet window.
To delete a preset, click the “Delete Preset” button. A new applet window will open with a preset list. Highlight the
preset to be deleted in this preset list and click the “Delete” button. The preset will be instantly deleted from the unit
and the preset list. To cancel without deleting any presets, simply close the applet window.
Processing Tab
Click on the “Processing” tab and the block diagram will appear:
Each block is a button that can be clicked to open a new applet window containing the controls for that processing
block.
Any number of processing block windows may be opened at the same time. When opened, they will minimize
automatically to the taskbar. (Windows OS; this may vary on other operating systems)
We will use the WB AGC processing block as our

example for adjusting the controls in a processing
block:
When you open a processing block window, the first

knob will be highlighted in red, indicating it is ready
to be adjusted, with the current setting enclosed in
brackets.
To select a different knob to adjust, simply click on

it. The new knob will be highlighted in red with its
current setting enclosed in brackets.
Once highlighted, there are three ways to adjust a knob:
1) Move the mouse cursor over the desired knob, click the left mouse button to select it, then hold the (left) mouse
button and drag the mouse either to the left (to lower the setting) or to the right (to raise the setting). When the
desired setting is reached, release the mouse button.
51

2) Move the mouse cursor over the desired knob, click to select it and rotate the scroll wheel on your mouse (if so
equipped) downward (to lower the setting) or upward (to raise the setting).
3) Move the mouse cursor over the desired knob, click to select it and use the Up and Down arrow keys on the
computer keyboard to raise or lower the setting respectively.
When you “turn” a knob, the brackets will disappear but will remain with the original setting for reference. Once
you click on a different knob or close the window, your new setting will become the bracketed setting.
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
OmniaONE’s Input menu
in the main applet screen.
Adjustment of the controls

works the same way as
described above in the
Processing Tab section.
Out Tab
Clicking on the “Out” tab
at the top of the applet
window will display all of
the controls for the
OmniaONE’s Output menu
in the main applet screen.

IO Tab
To enter the IO Configuration
menu, click on the “IO” tab.
Here you can select a

previously saved IO
Configuration from the
OmniaONE’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.
The controls work similarly to the controls in the Preset Tab section above.
52

Encode Tab
Clicking on the “Encode” tab
will display all of the controls
for the OmniaONE’s built-in
Stereo Generator (encoder) in
the main applet screen..

Livewire
Configuration of the OmniaONE’s Livewire port is accomplished in the Livewire menu. Click on the “Livewire”
link option from the top menu or “Livewire Configuration” form the Main Menu.
The following screen will appear:
In the “Output from Omnia ONE” section, the output Livewire stream can be named, the Livewire channel to be
used is assigned and the 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 OmniaONE is
selected. The Mode: dropdown box should normally be left at the default setting: “From source”.
Full explanation of the Livewire terminology used here is beyond the scope of this manual.
Please refer to your Axia Livewire system documentation for full information.
File Transfer
The File Transfer menu allows you to save and load User Presets and I/O Configurations to and from your
computer.
From the top menu in the Remote screen, click “File Transfer” or from the Main Menu, click the “User file transfer”
option.
53

Preset File Transfer
Shown below is the top half of the File Transfer screen, which is used for saving and loading user processing presets
to and from your computer.
Any user presets on the OmniaONE will show up as buttons under User Presets in the Download Presets section.
4 user presets are shown in the example screenshot above.
NOTE: The factory presets will not show up here and cannot be downloaded to your computer.
To download and save a user preset to your computer, click on a preset name button and your browser’s “File
Download” box should pop up.
Click the “Save” button, choose the desired folder to save the preset in from the “Save As” dialog (this may vary
with the OS) and click “Save” to save the file or “Cancel” to abort.
Presets are saved as small, text-based files with the “.opr” extension.
To upload a previously saved user preset to the OmniaONE, 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.
The preset will be saved to the OmniaONE with the same name as the selected file, minus the .opr extension.
NOTE: In the current software, after uploading a preset with the remote, that preset’s name will not appear in the
preset list on the front panel of the OmniaONE unit until a preset save, rename or delete operation is performed from
the front panel itself.
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.
I/O Configuration File Transfer

Similarly, I/O configurations can be saved to or loaded from your computer.
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Shown below is the bottom half of the “File Transfer” screen, which is used for saving and loading I/O
configurations to and from your computer.
I/O Configuration download and upload operations work similarly to the Preset download and upload operations
described above with the exception that the filename extension for I/O configurations is “.oic”.
Trigger Scripts
Please note that Trigger Script functionality is not yet implemented in the current software but will be available with
a free downloadable software update. Please check the Omnia website for new software announcements, download
links and manual updates at: http://www.omniaaudio.com/
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Software Update Procedure
Software updates for the OmniaONE are performed over an Ethernet connection using any standard Web Browser
and an update file downloaded from the Omnia website. The OmniaONE contains two software banks and the new
software is always uploaded to the inactive bank. This is a safeguard against loss of power or other interruption
during the update. In this event, the OmniaONE should still boot into the active bank containing the “old” software
(but it is best to avoid interruptions in any case).
Special Note:
When updating an OmniaONE unit to version 2.0 from version 1.1 or earlier, you must update the unit to version 1.2
first (using the procedure below), run version 1.2, and then update the unit again from v1.2 to v2.0 (repeating the
procedure below a second time).
To update the OmniaONE software proceed as follows:
1. Download the OmniaONE software update file (.oup) from the Omnia website at:
http://www.omniaaudio.com/support/updates.htm and save it to a convenient location on your computer.
2. Make sure your OmniaONE’s Network Configuration settings have been entered appropriately for your
network (see Network Configuration on Page 35 for details) and connect your OmniaONE’s Ethernet
(Livewire) jack to your Ethernet network using a standard Cat.5 cable or directly to a computer using a
Cat.5 crossover cable.
3. Open a standard Web Browser on your computer and connect to the OmniaONE by entering:
http://xxx.xxx.x.xxx/ in the browser’s address bar where the x’s in the example above are replaced with the
OmniaONE’s IP address. Once connected you should see the Login screen shown below. Enter the
Password (the default is “omnia” – all lower case) and click on the “Login” button. (Or simply press
“Enter”)
4. The Main Menu should appear. Click on the “Firmware Update” link option.
5. The “Confirm Firmware Update” screen should appear with the following warning:
“Performing an update requires the controls and meters for the audio processor to be stopped. On-air audio
will not be interrupted during the update. However, a reboot is required to activate the new software, and
this will interrupt the audio. At the end of the process, you will have the option to change the current boot
bank (to activate the new software) and reboot or to keep running the current software and reboot later. Do
you want to continue the update process?”
If you would like to proceed after reading the warning message, click the “Continue” button and the
“Update File” dialog should appear:
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6. Click the “Browse” button, locate the software update file downloaded and saved to your computer in Step
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 OmniaONE. 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
OmniaONE, the following “Update Initiated” screen should appear:
7. Now the software bank that is not currently in use will be updated with the new file. Read the “Update
Initiated” screen and then click on the link: “Click here to monitor the progress of the update.”
The “Installation Progress Monitor” screen should appear:
The log box on this screen will be automatically refreshed every 8 seconds.
NOTE: If the log box does not show up on your browser, you can click on the “Status Page” link option to
display an alternate status log. In this case, you must use your browser’s “Reload” button to manually
refresh the Status page, then the “Back” button to return to this page when installation is complete.
When “Update Successful” appears at the bottom of the log (as shown), the update has been installed and
is ready to be selected. Note: To see the “Update Successful” message, you may have to manually scroll to
the bottom of the log using the scroll bar or scroll arrows on the right edge of the log window.
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8. Once the “Update Successful” message appears at the bottom of the log, click on the link: “Select New
Software (Configuration Page)”
9. 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.
NOTE: A reboot is required to activate the new software, and this will interrupt the audio.
From the “Select Software Bank:” section, click the “radio button” of the Bank that contains the new
software version and click the “Apply” button. In this example, we decided to go ahead and activate the
new software so we clicked on the “Bank 1” radio button and then clicked “Apply”:
To activate the selected bank now, click the “Reboot Processor” link option. The processor will reboot
and the new software will be activated.
To continue running the previous version, click the “Return to Configuration” link option instead. When
you are ready to activate the new version, return to the Configuration page and repeat Step 9.
Once activated, the new version should appear as the “Running Software:” version:
10. You may now close your browser. The software update is complete.
58

One FM

Uploaded by

One FM

Uploaded by

Omnia ONE

Installation and Operation Manual

Omnia ● 2101 Superior Avenue Cleveland, Ohio 44114 USA

Omnia Europe ● Johannistrabe 6 D-85354 Freising Germany

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To Great Sounding Audio…the World over!

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Headphone Jack Headphone Level Control Jog Wheel

Main Menu / G/R Metering LCD Display Level Meters

2. Connect AC power to the unit (there is no power switch!)

4. Navigate to the Input/Output / Meter Select setting and select Input.

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13. Overloading. Do not overload AC wall outlets,

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LITHIUM BATTERY CAUTION – There is a danger of explosion if the internal

USE OF SHIELDED CABLING – In order to conform to the CE requirements for

NOTE: When the unit is operated in an extremely high RF environment, it may be

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The following URLs have been included for your convenience:

Manual Updates http://www.omniaaudio.com/support/manuals.htm

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About This Manual

OmniaONE Operating Manual.

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OmniaONE utilizes an un-switched EMI-filtered IEC power-entry module.

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Analog Audio Inputs and Outputs

All outputs are active simultaneously.

The stereo analog inputs Individual Left and Right

A Note About Relative Phase:

Stereo Generator Connections

Composite Outputs 1 & 2 (BNC)

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19 kHz Sync Output (BNC)

SCA Input (BNC)

(GREEN Male XLR)

(GREEN Female XLR)

(RED Female XLR)

Note: The analog and digital outputs are active simultaneously.

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Ethernet 10BaseT/100BaseT Remote and Livewire I/O

RS-232 Modem Connection (DB-9M)

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DB-9M GPI “Interface” Connector

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OmniaONE Key Front Panel Features

Headphone Jack Headphone Level Control Jog Wheel

Main Menu / G/R Metering LCD Display Level Meters

Headphone Level Control

Level Meters & Processing Bargraphs

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Audio I/O Level Display

Processing Meter Display

AGC Meters Limiter/Clipper Meters

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Using the Jog Wheel

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The OmniaONE Main Menu offers five selections:

• Lock Front Panel (not visible in the above screenshot)

Rotate the jog-wheel to highlight Input/Output.

Rotate the jog-wheel to highlight Input and click.

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Highlight Input/Output and click.

Rotate the jog wheel clockwise to highlight Input and click.

Proper Setting of Input Levels

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Know your goals (have a plan).

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Increasing loudness can be accomplished in five ways:

1. Alter the following parameters in the AGC: