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Parameter Editing
The Omnia-3 system architecture has a great number of audio processing functions and features. The following
sections detail the adjustments one can make while in Expert Edit Mode.
Before tackling this section you must be familiar with navigating through the menu system and be comfortable
with the Omnia-3 controls. (See Chapter 2, The User Interface) If so, you’re ready to tackle Omnia-3’s more
sophisticated adjustments. To edit a preset it must first be loaded into the Omnia-3. Once loaded, it can be
modified to your heart’s content. The changes can then be temporarily used, or they can be saved to the PC
Card so they won’t be lost.
The
Audio Processing
/
Edit Parameters
sub-menu and those below it provide access to the heart of Omnia-3
,
where
comprehensive and very fine adjustments to the audio processing are possible. We suggest that only
those with experience in processing adjustment should make use of this section. Here is where the user can
either shine and stand out on the dial, or crash and burn if they’re not careful! That’s right: Unlike other
processors, we don’t artificially limit the range of adjustments to try to keep you out of trouble—you better
know what you’re doing. This section of the manual will help you do just that.
Upon entering this menu, a unique graphical block diagram of the processing system appears. This block
diagram not only indicates the architecture of the processing system, but also provides access to the sub-menus
for each of these parameters. Take a moment and rotate the jog-wheel. The diagram scrolls from left to right as
different processing blocks are selected. Clicking the jog-wheel enters the sub-menu for that processing block.
Parameter adjustment is then accomplished using the previously discussed methods—turning the jog-wheel to
adjust a parameter, then clicking on it to effect the selection. Generally, turning the wheel clockwise will result
in “more” processing. For example, attack and release times become smaller as the wheel is rotated clockwise.
While this may at first seem counter-intuitive, it provides consistency across all the controls. The following
paragraphs will provide insight on each of the parameters.
Notice in the lower right-hand corner of the screen there is a horizontal
scroll
indicator to show the exact
location within the block diagram. This will help in navigating through the system.
Wideband AGC
There are numerous items to adjust in this selection. Of note are the
Attack
and
Release
functions. The lower
numbers relate to slower time constants, and the larger numbers relate to faster time constants. Since the time
constants are program-dependent, absolute time constant values (in ms.) would be useless—therefore the use of
numbers. Use a
higher
number if you want “fast” attack and release times, and
lower
numbers for slower attack
and release times. Generally, the best sound quality is achieved with slow attack and release times; greater
loudness is achieved with faster attack and release times.
The other item to note is the
Make-Up Gain
menu. This parameter sets the amount of gain to be filled in during
quieter, softer program passages. The range is
OFF
to
7
. This function is also program dependent, and it
interacts with the main time constants. As the attack/release times are modified, the system also scales the
Make-Up Gain
time constants. Use
less
makeup gain for processing more faithful to the source material; use
more
makeup gain for greater loudness and “density.”
Use the
Drive
control to ensure you are in adequate gain-reduction. Having the control set too low can rob you
of loudness, and defeat the “leveling” function of the Wideband AGC in dealing with varying program levels.
If wideband leveling is being performed upstream of the Omnia, the
Wideband AGC
control can be set to
“OUT” to bypass the AGC entirely.
Use the
Gate Thresh
control to set the level at which gating occurs, hence “freezing” the gain during short
pauses. Correct use will eliminate “pumping” effects that can lend an unnatural quality to the processing.
