Omnia-6ex Use and Operation Manual – V: 1.20
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located at the transmitter site, and you need something to protect the STL from being over-driven. In those
cases, we know that the Aphex Compellor (set for Slow Operation and a Process Balance knob setting of
between 10 and 11 o’clock) works extremely well. As of this writing, the only processing function that we don’t
yet offer for the Omnia-6 is reverb. So, unless you desire that Boss Jock feel for a CHR station, where you need
to operate a reverb in front of the Omnia, we feel that it should run barefoot.
7.
Why does the Omnia-6EX sound like it has so much more high end as compared to my old processor?
This is due to two distinct design features in Omnia-6EX. The method we use to perform the upper limiter
function, and where pre-emphasis is added into the system, both contribute to the Omnia-6's uncanny clarity.
Both of these features are significant advantages present in all Omnia processors.
Let’s first discuss our limiter methodology. Other processors usually employ a type of limiting algorithm known
as feedback control. While this function does a very nice job of controlling the audio signal, it’s done at the
expense of high Intermodulation Distortion. Feedback algorithms are actually better suited for the lower
frequencies, where any added intermodulation distortion creates a 'warming effect' to the audio. When used at
the higher frequencies, the sound of this algorithm type can be annoying, as it sounds much more busy or
squashed sounding. The limiting algorithms in the upper three bands in Omnia-6EX use a feed-forward design.
This algorithm type yields much lower distortion, and thus it offers a far smoother, more open, and silkier
sound.
The second difference is due to where we insert pre-emphasis in our system. Instead of inserting it before the
multiband limiting section, we do it after the limiters, right before the clipper. By doing this, the system does
not have to keep smashing the upper frequencies in order to control the pre-emphasis energy. In contrast, the
feedback method does this, and it results in a dense and squashed sounding high end.
This was one of the original methods used to manage the pre-emphasis energy, and it works, so one might
wonder how we can insert the pre-emphasis after the limiters and not generate unwanted high frequency
distortion in the following clipper. The answer is threefold:
First, the RMS based AGC sections don’t allow an unnatural buildup of high frequencies. Second, we alter the
limiter thresholds to best manage the required pre-emphasis boost. Third, our proprietary clipper can deeply and
cleanly clip the high frequencies without generating annoying distortion. The result is that neither our limiters
nor our clipper needs to work very hard to control modulation. This, along with our proprietary feed-forward
limiter algorithms, allows the high end to be open and airy sounding, without sounding torn and harsh. This, by
the way, is one of the secrets to what some users refer to as That Omnia Sound!
8.
I’m looking for Bass Effect that has a lot more “muscle” to it. How can I create that?
For starters, try the suggestions explained in the previous Thunder Bass section. If you are still looking for even
more Bass, the following suggestions will add more depth and power to the low end:
• Reduce the attack time of SLF (Band-1) of the multiband AGC section. This will yield more density to
the Bass Enhance section.
• Increase the output of SLF (Band-1) in the MIXER block located just before the Bass Enhance.
• If you want a broader depth to the low end, try setting the lowest multiband AGC X-Over to 190Hz
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