106
Appendix B: Factory Presets
1981A/O92 – by Jesse Graffam
Designed to capture the spirit of one of the most famous analog processing setups of the 1980’s,
“1981A/O92” is a 7-‐band preset that uses tight ratios over threshold in the lowest band for strong
consistent bass regardless of source material with looser ratios in the mid-‐bands to keep vocals and
drums open. It also takes advantage of the WB AGC2 in the “Bass Only” mode to deliver an
especially solid low end and uses the parametric EQ to “pre-‐load” the highs which then receive a
good dose of fast compression and limiting to deliver a familiar-‐sounding top end. An excellent,
easy-‐to-‐listen-‐to preset for 70’s and 80’s formats.
Barbeque Sound – by Rob Morsink
If you like a lot of “sizzle” with your music, “Barbeque Sound” brings it on and sends the highs out
front to be noticed. The multi-‐band AGC’s use an Infinite:1 ratio under threshold and looser ratios
over threshold, providing higher density in lower-‐level audio and more openness in louder sounds.
Fast multi-‐band release times offer up density and spectral consistency while the WB AGC-‐2
operating in the “Bass Only” mode gives low-‐end transients like kick-‐drums some extra punch.
Big Bottom– by Jesse Graffam
As the name implies, a thundering and broad low-‐end is the hallmark of this 6-‐band preset. The
strong bass is created by a combination of the parametric EQ, the WB AGC-‐2 in “Bass Only” mode,
and a final boost in the Band Mix. Vocals are pushed a bit farther back in the mix in favor of the
strong low end, and Infinite:1 ratios in all bands of the multi-‐band AGC at all times creates a dense
and consistent output. If there’s bass to bring forward in the music, “Big Bottom” will find it.
Big Iron – by Jesse Graffam
“Big Iron” is a 4-‐band preset dedicated to the glory days of radio and emulates the characteristics of
such notable compressors as the ART VLA and the Dorrough DAP 310. It provides a warm, open,
vocal sound and won’t attempt to aggressively re-‐equalize the original spectral balance of the
source material. It makes use of Omnia.9’s multi-‐stage AGC sections prior to the multi-‐band
compressors as well as the Gain Reduction Override feature in the multi-‐band section. It’s
competitively loud on the dial, but still punchy.
Summary of Contents for Omnia.9
Page 2: ......
Page 8: ......
Page 103: ...95 Input Output Overview...
Page 104: ...96 MPX Input MPX Output...
Page 105: ...97 MPX Patch Point...
Page 106: ...98 Pre emphasis Patch Point...
Page 107: ...99 Undo...
Page 108: ...100 Input AGC WB AGC1...
Page 109: ...101 WB AGC3 Post Multiband...
Page 110: ...102 WB AGC3 Bass Wideband...
Page 111: ...103 WB AGC3 Bass Only...
Page 112: ...104 Multiband Processing...
Page 113: ...105 Speaker Controller...
