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something like a “60’s –
early 70’s” densely processed Top 40 music station, so we designed the
OLDIESHEAVY
preset for that. There are several other less aggressive presets available for AM music formats such as
NOSTALGIA
and
JAZZ
. There is also a softer
CLASSICAL
preset, which provides “AM type enhancement”,
but less dense processing for music as well as less aggressive talk.
And finally there are the “MEDIUM” presets that
could be good starting points if you want a somewhat processed, but not too aggressive sound.
If you don’t need all of the processing power of the more aggressive “out of the box” presets, y
ou still may wish to
start with one of them and back it
down somewhat rather than starting “softer” and cranking
it up, as has been
“tradition”.
Please note that if you do choose to use the most aggressive presets (such as
FLAMETHROW
)
to their maximums,
your entire AM audio chain needs to be pristine. The STL needs to be as transparent as the proverbial “short piece of
wire
” and t
he transmitter / antenna system should be as
“state of the art”
as possible for maximum benefit.
The Omnia ONE AM 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.
Omnia ONE AM 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!
Omnia ONE AM 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. W
hile 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, t
he 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,
ther
e 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.
