Omnia.9sg Stereo Generator Manual
Stereo Generator with Psychoacoustically-Controlled
Distortion Masking Clipper
S/W Version 3.16.50 • January 2017
Notices and Cautions
The installation and service instructions in this manual are for use by qualified personnel only.
To avoid electric shock, do not perform any servicing other than that contained in the operating
instructions unless you are qualified to do so. Refer all servicing to qualified personnel.
This instrument has an auto ranging line voltage input. Ensure the power voltage is within the
specified range of 100-240v. The ~ symbol, if used, indicates an alternating current supply.
This symbol, wherever it appears, alerts you to the presence of uninsulated, dangerous
voltage inside the enclosure – voltage which may be sufficient to constitute a risk of
This symbol, wherever it appears, alerts you to important operating and maintenance
The instrument power supply incorporates an internal fuse. Hazardous voltages may still be
present on some of the primary parts even when the fuse has blown. If fuse replacement is
required, replace fuse only with same type and value for continued protection against fire.
The product’s power cord is the primary disconnect device. The socket outlet should be located
near the device and easily accessible. The unit should not be located such that access to the
power cord is impaired. If the unit is incorporated into an equipment rack, an easily accessible
safety disconnect device should be included in the rack design.
To reduce the risk of electrical shock, do not expose this product to rain or moisture. This unit is
for indoor use only.
This equipment requires the free flow of air for adequate cooling. Do not block the ventilation
openings in the top and sides of the unit. Failure to allow proper ventilation could damage the
unit or create a fire hazard. Do not place the units on a carpet, bedding, or other materials that
could interfere with any panel ventilation openings.
If the equipment is used in a manner not specified by the manufacturer, the protection provided
by the equipment may be impaired.
Die Installations-und Serviceanleitung in diesem Handbuch ist für die Benutzung durch qualifiziertes Fachpersonal. Um Stromschläge zu vermeiden führen Sie keine andere Wartung durch
als in dieser Betriebsanleitung aufgeführt, es sei denn Sie sind dafür qualifiziert. Überlassen Sie
alle Reparaturarbeiten qualifiziertem Fachpersonal.
Dieses Gerät hat eine automatische Bereichseinstellung der Netzspannung.
Stellen sie sicher, dass die verwendete Netzspannung im Bereich von 100-240V liegt.
Das Symbol ~, falls verwendet, bezeichnet eine Wechselstromversorgung.
Dieses Symbol, wo immer es auftaucht, macht Sie auf nicht isolierte, gefährliche elektrische Spannung (ausreichend um einen Stromschlag hervorzurufen) innerhalb des
Gehäuses aufmerksam. Spannungen.
Dieses Symbol, wo immer es auftaucht, weist Sie auf wichtige Bedienungs-und Wartungsanleitung hin. Lesen Sie die Bedienungsanleitung.
Das Netzteil des Gerätes hat eine interne Sicherung eingebaut. Auch wenn die Sicherung durchgebrannt ist, können auf einigen primären Bauteilen noch gefährliche Spannungen vorhanden
sein. Wenn ein Austausch der Sicherung erforderlich ist, ersetzen Sie die Sicherung nur mit
gleicher Art und Wert für den kontinuierlichen Schutz gegen Feuer.
Das Gerätenetzkabel ist die Haupttrennvorrichtung. Die Steckdose sollte sich in der Nähe des
Gerätes befinden und leicht zugänglich sein. Das Gerät sollte nicht so angeordnet sein, dass der
Zugang zum Netzkabel beeinträchtigt ist. Wird das Gerät in ein Rack eingebaut, sollte eine leicht
zugängliche Sicherheitstrennvorrichtung in den Rack-Aufbau mit einbezogen werden.
Um die Gefahr von Stromschlägen zu verringern, darf dieses Produkt nicht Regen oder
Feuchtigkeit ausgesetzt werden. Dieses Gerät ist nur für die Benützung im Innenbereich. Dieses
Gerät erfordert freie Luftzirkulation für eine ausreichende Kühlung. Blockieren sie nicht die
Lüftungsschlitze auf der Geräteoberseite und den Seiten des Gerätes. Unzureichende Belüftung
kann das Gerät beschädigen oder Brandgefahr verursachen. Platzieren Sie das Gerät nicht auf
einem Teppich, Poster oder andere Materialien welche die Lüftungsöffnungen beeinträchtigen
Wird das Gerät anders als in der, vom Hersteller angegebenen Weise verwendet, kann der, durch
das Gerät gegebene Schutz beeinträchtigt werden.
This equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and
used as directed by this manual, it may cause interference to radio communication. This equipment complies with the limits for a class a computing device, as specified by fcc rules, part 15,
subpart j, which are designed to provide reasonable protection against such interference when
this type of equipment is operated in a commercial environment. Operation of this equipment
in a residential area is likely to cause interference. If it does, the user will be required to eliminate
the interference at the user’s expense. Note: objectionable interference to tv or radio reception
can occur if other devices are connected to this device without the use of shielded interconnect
cables. Fcc rules require the use of shielded cables.
“This digital apparatus does not exceed the class a limits for radio noise emissions set out in the
radio interference regulations of the Canadian department of communications.”
“Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant les limites
applicables aux appareils numériques (de class a) prescrites dans le règlement sur le brouillage
radioélectrique édicté par le ministère des communications du Canada.”
This device complies with the requirements of the EEC council directives:
Conformity is declared to those standards: EN50081-1, EN50082-1.
Omnia Audio and the Omnia logo are trademarks of TLS Corp. All other trademarks are the
property of their respective holders.
All versions, claims of compatibility, trademarks, etc. of hardware and software products not
made by TLS Corp which are mentioned in this manual or accompanying material are informational only. TLS Corp makes no endorsement of any particular product for any purpose, nor
claims any responsibility for operation or accuracy. We reserve the right to make improvements
or changes in the products described in this manual which may affect the product specifications,
or to revise the manual without notice.
Telos Alliance Radio Division has an industry-leading five-year warranty.
As a company, we are commited to our products and the pursuit of providing better
quality to our customers.
Find the Warranty online at
The operation of Omnia.9sg is determined largely by software. We routinely release new versions to add features and fix bugs. Check the Telos Alliance web site for the latest. We encourage
you to sign-up for the email notification service offered on the site.
We welcome feedback on any aspect of Omnia.9-SG, or this manual. In the past, many good
ideas from users have made their way into software revisions or new products. Please contact us
with your comments.
You must contact Omnia before returning any equipment for factory service. We will need your
unit’s serial number, located on the back of the unit. Omnia will issue a return authorization
number, which must be written on the exterior of your shipping container. Please do not include
cables or accessories unless specifically requested by the Technical Support Engineer. Be sure to
adequately insure your shipment for its replacement value. Packages without proper authorization may be refused. US customers, please contact Omnia Technical Support at +1-216-6220247. All other customers should contact local representative to make arrangements for service.
You may reach our 24/7 support team around the clock by calling +1-216-622-0247 or by email
at A variety of useful information is available on the Telos Alliance
website (
For billing or non-emergency technical questions, call +1-216-241-7225 between 9:30am and
6:00pm USA Eastern time, Monday – Friday.
Our fax number is +1-216-241-4103.
General questions can be sent by email to
Our mailing address is The Telos Alliance, 1241 Superior Avenue E., Cleveland, OH, 44114,
Did you know that all Telos Alliance products come with a 5-year warranty? Take a moment to
activate your coverage online at
Table of Contents
User Warnings and Contact Info
Register You Product. . . . . . . . . . . . . . . . . . . . . . . V
A Letter from our CEO, Frank Foti. . . . . . . . . . . . . . . . . VII
Overview and Applications
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
More About Selected Features. . . . . . . . . . . . . . . . . . . 6
Psychoacoustically-Controlled Distortion Masking Clipper. . . . . 6
Psychoacoustic Composite Embedder. . . . . . . . . . . . . . 6
RF Bandwidth Controller. . . . . . . . . . . . . . . . . . . . 6
SSB (Single Sideband) Stereo Subcarrier Options. . . . . . . . . 7
ITU-R BS.412 MPX Power Controller. . . . . . . . . . . . . . . 7
Auto Pilot Stereo/Mono Switching . . . . . . . . . . . . . . . 7
Full Remote Control . . . . . . . . . . . . . . . . . . . . . . 8
Omnia Toolbox. . . . . . . . . . . . . . . . . . . . . . . . 8
Internal Playback with Processing. . . . . . . . . . . . . . . . 9
Local Audio Insertion with Processing. . . . . . . . . . . . . . 9
Livewire+/AES67 Multicast Compliance. . . . . . . . . . . . . 9
GPI/O and SNMP Support . . . . . . . . . . . . . . . . . . 10
Quick Start Setup Guide
Physical Installation. . . . . . . . . . . . . . . . . . . . . . 11
Front Panel Control, Menu Navigation, and Password . . . . . . . 12
Using the Rotary Encoder . . . . . . . . . . . . . . . . . . 12
Unlocking the Unit . . . . . . . . . . . . . . . . . . . . . 13
Front Panel LEDs (And Our Version of a Secret Decoder Ring). . . 14
Configuring Network Settings and Installing NfRemote . . . . . . 15
Configuring I/O Sources and Settings. . . . . . . . . . . . . . . 16
Select the Input Audio Source . . . . . . . . . . . . . . . . 16
Adjust the Input Gain. . . . . . . . . . . . . . . . . . . . 17
Configure and Adjust the Output. . . . . . . . . . . . . . . 18
Adjusting the Composite Output. . . . . .
Using the Omnia Direct™ Output . . . . . .
Adjusting FM Diversity Delay . . . . . . . .
Using ITU-R BS.412 (MPX Power Limiting) . .
Omnia.9sg Settings
Omnia.9sg Menu . . . . . . . . . . . . . . . . . . . . . . . .21
Stereo Generator Menu. . . . . . . . . . . . . . . . . . . 21
Load Preset Menu. . . . . . . . . . . . . . . . . . . . 22
Save Preset Menu . . . . . . . . . . . . . . . . . . . . 23
Input Selection Menu . . . . . . . . . . . . . . . . . . 23
Input Adjust Menu. . . . . . . . . . . . . . . . . . . . 26
Livewire Input Menu. . . . . . . . . . . . . . . . . . . 27
Livewire Output Menu. . . . . . . . . . . . . . . . . . 28
MPX Menu. . . . . . . . . . . . . . . . . . . . . . . 29
Digital Output Menu. . . . . . . . . . . . . . . . . . . 30
Auto Pilot Menu. . . . . . . . . . . . . . . . . . . . . 31
Power Limit Menu . . . . . . . . . . . . . . . . . . . . 31
Clipper Menu . . . . . . . . . . . . . . . . . . . . . . 32
TCP Link Status Menu . . . . . . . . . . . . . . . . . . 34
MPX Inputs Menu. . . . . . . . . . . . . . . . . . . . . . 40
MPX Input 1/MPX Input 2 Menus. . . . . . . . . . . . . 40
Local Processor Menu . . . . . . . . . . . . . . . . . . . . 41
Load Preset Menu. . . . . . . . . . . . . . . . . . . . 42
Save Preset Menu . . . . . . . . . . . . . . . . . . . . 42
Preset Protection Menu. . . . . . . . . . . . . . . . . .43
About Preset Menu. . . . . . . . . . . . . . . . . . . .43
Input Conditioning Menu. . . . . . . . . . . . . . . . . 44
Enhance Menu. . . . . . . . . . . . . . . . . . . . . .44
Gain Riding Menu. . . . . . . . . . . . . . . . . . . . 45
Multiband Menu. . . . . . . . . . . . . . . . . 46
Bypass Menu. . . . . . . . . . . . . . . . . . . . . . 46
Clipper Menu . . . . . . . . . . . . . . . . . . . . . . 47
Meter Options Menu. . . . . . . . . . . . . . . . . . . . . 48
RDS Menu. . . . . . . . . . . . . . . . . . . . . . . . . 49
RDS Main Menu. . . . . . . . . . . . . . . . . . . . . 49
RDS Station ID Menu. . . . . . . . . . . . . . . . . . . 51
Program Type Menu . . . . . . . . . . . . . . . . . . . 52
Flags Menu. . . . . . . . . . . . . . . . . . . . . . . 52
Alternative Frequencies Menu. . . . . . . . . . . . . . . 53
Monitor Outputs
Headphone/Speaker/Aux Output Menu. .
Patch Point Menu. . . . . . . . . .
Load Preset Menu. . . . . . . . . .
Save Preset Menu . . . . . . . . . .
Main Menu. . . . . . . . . . . . .
Loudness Menu. . . . . . . . . . .
Left/Right EQ Menu. . . . . . . . .
System Settings
System Status. . . . . . . . . . . . . . . . . . . . . . . .64
System Information. . . . . . . . . . . . . . . . . . . 64
CPU Cores. . . . . . . . . . . . . . . . . . . . . . . . 64
Network Information. . . . . . . . . . . . . . . . . . . 64
Audio I/O Status. . . . . . . . . . . . . . . . . . . . . 64
Monitor Out Status (1/2). . . . . . . . . . . . . . . . . 64
Current Alarms . . . . . . . . . . . . . . . . . . . . . 64
Scheduling. . . . . . . . . . . . . . . . . . . . . . . . . 65
GPI/O. . . . . . . . . . . . . . . . . . . . . . . . . . . 66
GPI Menu. . . . . . . . . . . . . . . . . . . . . . . . 66
GPO Menu . . . . . . . . . . . . . . . . . . . . . . . 67
System Configuration . . . . . . . . . . . . . . . . . . . . 68
Password . . . . . . . . . . . . . . . . . . . . . . . . 68
Time/Date . . . . . . . . . . . . . . . . . . . . . . . 68
Power . . . . . . . . . . . . . . . . . . . . . . . . . 69
IP Configuration. . . . . . . . . . . . . . . . . . . . . 69
Outbound Connection. . . . . . . . . . . . . . . . . . 70
HTTP Access. . . . . . . . . . . . . . . . . . . . . . . 71
Software Update. . . . . . . . . . . . . . . . . . . . . 71
Backup . . . . . . . . . . . . . . . . . . . . . . . . . 72
SNMP. . . . . . . . . . . . . . . . . . . . . . . . . .72
Upgrades . . . . . . . . . . . . . . . . . . . . . . . . 73
Client Audio
Client Audio Out. . . . . . . . . . . . . . . . . . . . . . . 74
“Patch Point” Menu . . . . . . . . . . . . . . . . . . . 74
Client Mic Input. . . . . . . . . . . . . . . . . . . . . . . 75
Input Device. . . . . . . . . . . . . . . . . . . . . . . 75
Load/Save Preset . . . . . . . . . . . . . . . . . . . . 75
Main. . . . . . . . . . . . . . . . . . . . . . . . . . 75
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Client File Recorder. . . . . . . . . . . . . . . . . . . . . 76
Client IP Options . . . . . . . . . . . . . . . . . . . . . . 76
Frequently Asked Questions
What is this thing and what exactly does it do again?. . . . . . 77
I don’t have an Omnia.9—Can 9sg still benefit me? . . . . . . 77
What about RDS?. . . . . . . . . . . . . . . . . . . . . . 77
What else have I won, Bob? . . . . . . . . . . . . . . . . . 78
So I’ve read through this entire manual and I STILL have questions.
Now what?. . . . . . . . . . . . . . . . . . . . . . . . . 78
Telos Alliance Warranty
War of the Waves
Dear Valued Customer,
It’s with great pride and a tip of the hat to an incredible team that I congratulate you on your new Telos
Alliance product. Everything we do here at the radio division of the Telos Alliance is with one end goal
in mind: To help broadcasters declare victory in extremely competitive environments. By purchasing
this product from us, in essence, you have declared war on your competition.
After all, the majority of Telos Alliance employees were broadcasters themselves once, and the products
we’ve developed over the years have been designed as solutions to specific issues faced on the front
lines of our industry. We’re right there in the trenches with you and have the weapons you need in your
Telos Systems is a catalyst to out-of-this-world sound, with the most powerful and popular broadcast
telephone systems in the industry; IP/ISDN codecs and transceivers; plus processing/encoding for
streaming audio. We built an industry on the back of these amazing telephony systems, and they are still
going strong.
While we at the Telos Alliance never forget our roots, we are also blazing trails in terms of new technologies like stream-encoding and AoIP, so that all types of broadcasters can excel in this ever-evolving digital
Omnia Audio not only lets you stand out on the dial with your unique signature sound via legendary
audio processors, audio codecs, and microphone processing, it lets you give your listeners a better
streaming experience across devices with innovative stream encoding/processing software and hardware.
Axia Audio is a driving force behind the AES67 AoIP standard, and its networked AoIP radio consoles,
audio interfaces, networked intercom, and software products continue to move AoIP adoption forward
and help broadcasters streamline operations with cohesive, smart, and feature-rich AoIP ecosystems.
Last, but certainly not least, 25-Seven has traditionally been known for its audio delays, but its Voltair
watermark monitor/processor has made a name for itself more recently as the disruptive product that
helped broadcasters take back their ratings and harness the true power of their listening audiences.
You work so hard on your programming day-in and day-out, it deserves technology that will optimize
sound and performance at every point in the airchain and online. Armed with Telos products, you have
what you need to set your competition squarely in your crosshairs.
With that, I’ll leave you to prep your armaments. I hope that you will enjoy your Telos Alliance products
for many years to come!
Frank Foti
CEO, The Telos Alliance
Overview and Applications
Since the late 1970’s, most FM audio processors have been “all-in-one” units; audio conditioning, multiband AGC, multiband limiting, final clipping, and stereo (MPX) encoding are all in
the same chassis. This approach offers many benefits in convenience, performance, and cost
and has worked well with traditional composite STL systems or when the processor can be
placed at the transmitter site.
One important fact about Omina.9sg is that it is “processor agnostic” – that is, it can be used
with any processor from any manufacturer. This ability allows stations to significantly upgrade
their processing power and audio quality without having to invest in an entirely brand-new processor. Or, you may simply prefer the dynamics processing (AGCs and limiters) from another
brand or model but still want to take advantage of the superior composite abilities of Omnia.9.
Details about using Omnia.9sg in such applications are provided later in this manual.
In many cases, it is advantageous to place the main audio processor at the studio while the final
clipper and stereo generator operate at the transmitter such as when using a discrete analog or
digital (AES) STL.
If the STL delivers bit-reduced audio using a lossy codec to optimize available bandwidth,
overshoots are possible which result in lost loudness from the final transmitted signal. In this case, proper FM clipping must be applied after the coded link where advanced stereo
generation can add an additional dB of loudness with no further audio degradation.
Some FM broadcasters are transmitting the same audio from two or more tower sites. In these
cases, one primary audio processor can feed a WAN or satellite distribution system while individual Omnia.9sg’s reside at each transmission site.
Transmitter sites are often remotely located and sometimes shared among multiple broadcasters. Access may be limited and tightly controlled. In such cases, keeping the main processor at
the studio and installing a smaller and less expensive stereo encoder makes sense.
Stations employing main and backup STL’s for redundancy feeding the same or geographically
different transmitter sites can also benefit from Omnia.9sg by allowing the use of a single processor at the studio.
Research has indicated that ratings encoders and/or ratings enhancement devices (such as our
own Voltair) benefit from being fed processed audio. While some processors including Omnia.9
and Omnia.11 have special “insert points” designed for this purpose, not all processors do.
Placing the processor and ratings encoder at the studio and moving the stereo generator to the
transmitter site can help accommodate this.
Omnia.9sg includes many of the composite-side features of our Omnia.9 processor but with an
improved version of the psychoacoustically-controlled distortion masking clipper and composite embedder that contribute so significantly to Omnia.9’s clean on-air sound.
These include:
Full IP remote via NfRemote app with remote audio streaming
Built-in http server with push support for automation, including dynamic RDS data such
as artist and song titles
Selectable SSB (single sideband) stereo encoding
RF Bandwidth controller to reduce multipath distortion
Optional RDS encoder (field updateable)
ITU-R BS.412 power limiter
Auto Pilot (turns off pilot for mono content)
Relay bypass including composite pass-through
“Omnia Toolbox” analysis tools (oscilloscope, FFT, RTA)
Dual redundant power supplies
Analog and AES3 audio I/O
Two composite outputs (one swappable to 19kHz reference output)
Two composite inputs (for RDS or backup processor)
Internal playback with processing
Optional local audio insertion feature with processing
Livewire+/AES67 multicast compliance
GPI and GPO support
SNMP support
More About Selected Features
Psychoacoustically-Controlled Distortion Masking Clipper
Believe it or not, the description “psychoacoustically-controlled distortion masking clipper” is
more than just high tech marketing speak! It actually sums up the premise of how Omnia.9sg’s
clipper is able to deliver such a clean sound even when pushed for competitive loudness.
All FM processors use clipping in their final stage as a means of building loudness and providing
absolute peak modulation control. The majority of clipping is typically done in the final L/R
stage with additional (and optional) clipping being performed in the composite domain.
This is also where the classic (and oft dreaded) “loud v. clean” tradeoff is made. When more
clipping is used to increase loudness on the dial, the clipped peaks fall back into the audio and
manifest themselves as audible distortion.
There are ways to get around that problem, but they come at a price. Backing down the clipper
drive will clean up the sound, but then you lose loudness. You could move more of the “heavy
lifting” to the compressors and limiters, but that can result in an overly-busy, dense sound
that robs the music of life and invites listener fatigue. Indeed, some processors MUST resort
to building density in this way because their simple or outdated clippers must be protected or
simply aren’t up to the job.
Like any other clipper, the one in Omnia.9sg clips peaks and generates distortion – but it can
identify that distortion and use its proprietary algorithms in the composite signal to mask it,
effectively eliminating it from the final audio.
As a result, this advanced clipper comes closer to eliminating the “either/or” compromise
between loudness and audio quality than any other processor on the market today.
Psychoacoustic Composite Embedder
Another trick Omnia.9sg has up its sleeve is its ability to get 140% L/R audio peaks while maintaining 100% total modulation, even with the challenging 75 microsecond pre-emphasis curve.
This results in 1dB of extra loudness without any additional processing or clipping and allows
Omnia.9sg to be significantly cleaner for a given loudness level, or, substantially louder for a
given level of quality – especially in the higher frequencies.
RF Bandwidth Controller
By using a built-in software-based FM exciter and spectrum analyzer, Omnia.9sg can analyze
and measure the predicted occupied bandwidth of the real-world FM signal and communicate
this information to the final clipper so that bandwidth can be optimized in real time.
This is useful in situations where a signal with wider RF bandwidth and a receiver with a narrow
front end “collide” and result in increased distortion and the loss of part of the signal.
When pushing hard for loudness, using the RF Bandwidth Controller can result in a slight
loudness loss (approximately 0.5dB) and some loss of stereo separation, so its application and
any resulting tradeoffs will be largely market-dependent.
The RF Bandwidth Controller is also useful for correcting anomalies such as single-channel DC
offset or for optimizing modulation performance per ITU Recommendation 1268; details can be
found here:!!PDF-E.pdf
SSB (Single Sideband) Stereo Subcarrier Options
Some improvements in FM stereo reception are possible by reducing or eliminating the upper
sideband of the stereo subcarrier in the FM baseband signal. This mode is called Single-Sideband Suppressed Carrier or SSBSC. Background information on the concept is available in this white paper:
Omnia.9sg offers three different SSBSC filtering modes, allowing users to choose which is most
appropriate in their market. Details of each are provided later in this manual.
ITU-R BS.412 MPX Power Controller
The Power Controller provides the ultimate combination of loudness and modulation while still
ensuring compliance with applicable BS.412 regulations, required by some countries or regions.
Auto Pilot Stereo/Mono Switching
Broadcasting in stereo is obviously a sonic advantage for 2-channel content, but it’s far from
a “free ride”. For example, the stereo pilot typically claims 9% of the total modulation, stereo
signals are more prone to multi-path distortion than mono signals, and the signal-to-noise ratio
for stereo is worse than for mono.
If you are playing stereo music these are acceptable tradeoffs but operating in stereo brings
nothing to the table for mono content, be it mono music or talk programming.
Using the Auto Pilot feature in Omnia.9sg allows the pilot to be automatically turned off (resulting in mono transmission) when the source audio is detected to be mono, lowering the noise
floor by 20dB, virtually eliminating multipath distortion when it is most audible, and utilizing
the modulation normally reserved for the pilot for the audio. When the content returns to
stereo, the pilot automatically and seamlessly turns back on.
Full Remote Control
Every modern processor provides some means by which to control it or adjust its settings remotely, which is handy if it is located at a remote transmitter site miles (and often mountains)
away from the studio.
Most employ web-based interfaces which on the surface sounds convenient because it allows
you to remote in from a browser on any computer at any location, but even the best of them fall
short when it comes to a great user experience. They require browser plug-ins, typically feel
“laggy” when viewing meters or adjusting controls, and don’t always have the same look and feel
as the front panel interface.
Omnia.9sg’s NfRemote client software not only allows the same level of control as offered from
the front panel, but is actually easier to navigate whether you’re standing next to Omnia.9sg or
controlling it from miles away.
If you have Omnia.9sg’s on more than one station in your group (who can buy just one?) you
can connect to any of them through a single connection window, and can run multiple remotes
Providing your network has sufficient bandwidth, you can even stream audio from various patch
points within the processing chain back to the client computer. This allows you to hear what
effect your adjustments have on your audio in the environment of your choice instead of a rack
room or transmitter building, locations which almost never have decent monitors but offer
noise in abundance!
Omnia Toolbox
When creating Omnia.9sg, we recognized that having advanced diagnostic and measurement
tools would be necessary. Audio processing is largely a “hearing” process but there is much to be
learned by also seeing what your adjustments are doing to your sound.
Some stations still have an oscilloscope on the test bench or a spectrum analyzer at the transmitter, but it’s not always convenient (or possible) to hook up a processor to them while it’s on the
air. Even if you did so, you’re pretty much limited to monitoring only the composite output of
your own station’s processing.
Omnia.9sg’s built-in Toolbox solution means there’s no extra test equipment to buy (‘scopes
and analyzers aren’t cheap) and no cables to hook up. It also means you can visually monitor the
signal at the input, the output, and many points throughout the processing path so you can tell
what’s happening to the audio every step of the way.
As an added bonus, Omnia.9sg’s composite inputs can be fed from a calibrated tuner or frequency-agile mod monitor so that you can monitor competitor’s signals in your market too!
Internal Playback with Processing
The loss of source audio for whatever reason – STL packs it in, automation system takes a dirt
nap, talent locks themselves out of the building taking a smoke break, studio is being fumigated
again – means Omnia.9sg will have no processed audio to include in its composite signal.
To temporarily get you through such a situation, Omnia.9sg now thoughtfully includes the
ability to play and process back-up audio from internal storage if the primary source audio is
interrupted. The internal player is not designed to replace an automation system, but it can
randomize music and insert liners and legal IDs.
Files can be uploaded via FTP server and can hold approximately 15GB of music in MP2, MP3,
FLAC, or WAV (PCM only) formats.
The built-in processor is a 2- to 4-band variation of the dynamics processing found in Omnia.7
and Omnia.9 and comes with over twenty newly created presets designed to work with Omnia.9sg’s clipper.
Local Audio Insertion with Processing
The optional local audio insertion feature allows an additional external audio source to replace
main program audio either automatically or by a proprietary cue tone which can be downloaded
from the Omnia website at A look-ahead feature ensures that the
cue tones are never audible on-air.
This system – which uses the same built-in processing as the internal playback feature - is
particularly valuable for networked applications where the majority of content is relevant to
all affiliates or transmitter sites but where it is beneficial (or even legally required) to replace
specific network content with local program elements such as local ID’s, weather, traffic, commercials or locally produced public service content.
Having the option for local processing is also valuable if the loss of primary audio content from
the studio is expected to last an extended period of time, for example, during construction, if the
studio cannot be occupied or there is a complete failure of the console, automation system, or
STL. In this case, feeding the output of a small mixer or a stand-by automation system directly
into Omnia.9sg can get the station back on the air until the issue can be resolved.
Livewire+/AES67 Multicast Compliance
Omnia.9sg is Livewire+/AES67 multicast compliant, and includes support for SDP (Session
Description Protocol) files. It provides three universal, assignable inputs and nine dedicated
Outputs include dozens of patch points from within three Monitor Output points, a decoded
MPX output from the Omnia.9sg’s stereo generator, a decoded MPX output from a mod monitor
feeding either of the external composite inputs, and – as a world’s first – a full composite signal
over Livewire+/AES67 via a 192kHz 16-bit single channel stream.
CHAPTER 1 | 10
GPI/O and SNMP Support
Omnia.9sg now supports both GPI and GPO via dedicated physical connections and over
A pre-defined list of GPIs is provided later in this document, and the ability to write customized
task scripts has been added. This allows any control value or function to be changed via a
GPI command by creating a customized task script through Omnia.9sg’s built-in http server.
Multiple commands can be combined into a single script, allowing complex combinations of
parameters to be changed all at once.
GPO options include a number of critical hardware and signal-related conditions which can be
assigned to trigger alternate signal routing or equipment use.
All GPOs plus many more alarm conditions are available as SNMP traps to be read by your
external SNMP management software. Omnia.9sg supports SNMP v1 and v2c.
Quick Start Setup Guide
We’ve prepared this preliminary Quick Start Setup Guide to get you and your new Omnia.9sg
up and running as quickly as possible.
It is deliberately brief and does not provide a full explanation of all available controls and settings, so we strongly recommend reading the complete user manual when time allows.
Omnia.9sg is a slim 1RU design so it doesn’t take up much vertical rack space, but it is deep.
Accordingly, you may wish to enlist the help of an assistant when racking it up and ensure
there’s nothing to obstruct it toward the back of the rack.
The unit is fan cooled but leaving an empty rack space directly above and below it is still good
practice for both Omnia.9sg and the equipment directly above and below it. Air is drawn in via
an intake near the front right side of the unit (looking at the front panel) and exhausted near
the front left side, so ensure there are no obstructions around these areas that would impede air
Physical Installation
Connect AC power to both of the internal power supplies. There is no power switch.
It is always possible for a power supply to fail; having redundant supplies helps protect you in
the unlikely event that one of the internal supplies fails. . In reality, external power source failure
is far more likely. , Good engineering practice dictates that each supply should be fed from a
different source. At minimum we recommend that each source should be a good quality UPS
with adequate surge protection. In an ideal world (where everyone gets along and you got to
build the plant of your dreams from scratch with an unlimited budget) each would be fed from a
completely different isolated circuit for maximum redundancy.
Next, connect the audio inputs as appropriate for your installation. Omnia.9sg accepts balanced
professional line-level analog audio via its Left and Right Analog Inputs and AES/EBU digital
audio on standard XLR connectors via its AES inputs. Audio can also be provided via Livewire.
Two composite (MPX) inputs are also provided and can accept a full MPX signal from the
composite output of another processor.
CHAPTER 2 | 12
In the event of a power (or software) failure, Omnia.9sg provides a hard relay bypass. When the
bypass relay is engaged, MPX Input 1 is directly connected to MPX Output 1 while MPX Input 2
is directly connected to MPX Output 2. Accordingly, it is possible to take the composite output
of a hot backup processor or stereo generator and feed it into the MPX input corresponding to
the employed MPX Output.
The main AES XLR input can accept audio with or without a clock reference of between 32kHz
and 96kHz. If necessary, the built-in sample rate converter (SRC) on this input will up- or
down-convert to the fixed system standard of 48kHz.
A dedicated external reference input is provided on the rear panel via a BNC connector should
it be necessary to sync to a clock that is not present on the incoming AES audio signal, but this
must be a 48kHz signal as no SRC is present on the BNC input. An adapter (Pin 2 hot, Pin 3
shield) may be used for short runs without concern. For longer runs, a transformer may be used.
Front Panel Control, Menu Navigation, and Password
Using the Rotary Encoder
Much like our Omnia.7 processor Omnia.9sg uses a “joystick” type of rotary encoder for menu
navigation and control adjustment on the front panel.
“Rocking” the control left, right, up or down facilitates navigation through the various
menus. In lower level menus, a Right command is a backspace, while a Left command is
Enter or proceed.
Turning the knob clockwise or counterclockwise scrolls through tables and adjusts
individual controls. Turn the knob to rapidly navigate through the alpha-numeric selector
Push the rotary control in to press “Enter”. This “Enter” action usually has the same
function as rocking the control to the right.
CHAPTER 2 | 13
Unlocking the Unit
For newcomers, navigating using the Rotary Encoder can take some getting used to. Getting
past the password lock provides a first step to becoming familiar with navigation tools. This
step-by-step guide will help give you an orientation.
Rock the rotary encoder up/down control so you highlight (draw the grey outline) around
the Password entry box.
Press Enter to proceed to the Alpha-numeric selection page.
Turn the knob to select letters and numbers, then press Enter to “type” characters. The
factory default password is “1234”. When you are finished entering your password, scroll
to “OK” and press Enter. This will return you to the screen above, and you’ll see hidden
characters <….> in the Password entry box.
Rock the control down to highlight the Unlock control, then press Enter. If your password
was valid, this will take you to the 9sg System Menu.
Once you are in the System menu, use the same controls to navigate through choices, and
familiarize yourself with the menu structure. In many cases, you may simply want to proceed
to the System/System Config/IP Config menu to set network addresses, then use NfRemote for
the rest of your setup. Note that the unit will always lock itself when the display times out and
goes dark. The length of time before this happens is adjustable in the System > System Config >
Power menu. The default timeout is the maximum 24-hour duration.
While front panel navigation is always an option, primary setup and configuration is much
more easily accomplished via the free NfRemote software application available from the Omnia.9sg product page on the website. All screenshots and visual references
within this document are taken directly from the NfRemote interface.
NfRemote allows you to quickly navigate all the layers of 9sg software, and provides a richer,
more complete display of controls. We recommend you use it as your primary interface with
the unit.
CHAPTER 2 | 14
Front Panel LEDs (And Our Version of a Secret Decoder Ring)
The front panel features four LEDs that serve as status indicators for various audio and hardware
The top two LEDs denote audio conditions and alarms, the “Audio Source Warning” and “Audio
Quality Warning” indicators. The bottom two are system status and alert indicators , “System
Warning 1” and “System Warning 2”.
In normal operation, all indicators will show green. The meanings of various colors and combinations are explained below in a visually pleasing, easy-to-follow diagram.
CHAPTER 2 | 15
Configuring Network Settings and Installing NfRemote
Connect Omnia.9sg to your local network via the rear panel Ethernet connection. The unit is set
up to receive an IP address via DHCP by default. Navigate to System > System Configuration >
IP Configuration from the Main Menu and verify that an IP address has been assigned. This may
take a minute or two depending upon your network. Note that the DHCP display will not show
an IP address when unplugged from the network.
A static IP address can also be assigned by navigating to System > System Configuration > IP
Configuration > Use DHCP and click the joystick right to un-check it. Then navigate down
and click-right on the IP: box, enter the desired IP address and click-right on OK when done.
Similarly, enter the Subnet Mask and other network parameters (if required). Finally, navigate
to Apply and then click-down all the way past the warning text and you’ll see ”Are you sure?”,
highlight the Yes box and click-right.
Copy the NfRemote application to a Windows laptop, desktop, or tablet from the USB thumb
drive supplied with your unit, or download it from the Omnia website. Double-click to begin
the installation and follow the on-screen directions to complete it.
When the NfRemote connection screen appears, enter the IP address and password of your
Omnia.9sg. You may also fill in a “friendly” name in the Comment field to help identify the unit.
Be sure to click on the dropdown menu to the far right of the connection window and choose the
correct input method (local mouse, remote desktop/VM, touch screen, etc.)
CHAPTER 2 | 16
You may click on the “Add” button to add this unit to a quick recall list in the bottom of the
window or simply click “Connect”.
Once the connection is complete, the main Home screen will appear. Clicking the left mouse
button highlights displays, menu items and controls. Clicking and holding the left mouse
button while dragging adjusts sliding controls.
Configuring I/O Sources and Settings
Omnia.9sg makes the perfect “split chassis” solution for customers who want the benefits
of having their main processor at the studio without sacrificing the advantages of having the
composite generator at the transmitter.
Accordingly, its default settings presume that the “FM Pre-final L/R” output insert point found
on Omnia.9 and Omnia.7 or the “PP” patch point output of the Omnia.11 (running version 3.0
software or higher) will be used to feed Omnia.9sg.
Select the Input Audio Source
Navigate to the Omnia.9sg > Stereo Generator > Input Selection menu and select the proper
source (analog, AES digital, or Livewire) for the primary and/or backup inputs. Only the
primary input is required. If a backup source is provided, it can be used as a failover source in the
event of a loss of audio on the primary input.
CHAPTER 2 | 17
Adjust the Input Gain
From the Omnia.9sg > Stereo Generator > Input Adjustment menu, set the “Input Gain” control
as appropriate for your input source and processing needs.
The “Input Gain” control on Omnia.9sg adjusts the input drive level to the clipper and therefore
replaces the more traditional and familiar “Clipper Drive” control found on a traditional FM processor.
Accordingly, increasing this control increases clipper drive.
By default, this control is set to +12.5dB as it is presumed Omnia.9sg will normally be fed from
an Omnia.9 using the “FM Pre-final L/R” patchpoint output which has been attenuated by the
same amount to provide adequate headroom.
When set at the default level, this will exactly emulate the sound and behavior of a standalone
Omnia.9 using its composite outputs. Accordingly, any adjustments to the Omnia.9’s “Final
Clip Drive” control will yield identical results.
This setting also holds true if you are feeding Omnia.9sg from another processor with a similar
“post-limiter, pre-clipper, pre-emphasis” patchpoint, providing it applies the same pre-attenuation.
If you are feeding the 9sg with a processor that does not have such a patchpoint, the best performance will be realized by using its HD output. The limiter drive on the processor feeding 9sg
should be turned down well below where it would typically be run, since the final clipper in 9sg
will do the “heavy lifting” , and take into account the pre-emphasis curve.
CHAPTER 2 | 18
Finally, it is also possible to use a “flat” (non-pre-emphasized) FM output to feed Omnia.9sg
or even a de-emphasized FM output (with the final clipper drive of the processor turned all the
way down) but this approach would have a negative impact on overall audio quality due to the
15 kHz low pass filtering typically present in most processors. The 16.5 kHz low-pass filter of
9sg will allow significantly more high end through the system if it is fed directly without additional prior filtering.
Configure and Adjust the Output
Connect the audio outputs as appropriate for your installation.
Two composite outputs are provided to feed a main/backup composite STL or transmitter.
Omnia.9sg also supports balanced professional line-level analog audio via its Left and Right
Analog Outputs and AES/EBU digital output on standard XLR connectors via the AES output.
The AES outputs can also be used to provide an Omnia Direct™ (composite over AES) signal.
Adjusting the Composite Output
To adjust the levels of each of the composite outputs, navigate to the Omnia.9sg > Stereo Generator > MPX menu and adjust the corresponding “MPX Output Level” sliders until the desired
modulation is indicated on a dedicated, calibrated modulation monitor. The “Pilot Level” and
“Pre-emphasis” controls are also found here. Details of other controls will be explained in detail
later in this manual.
CHAPTER 2 | 19
Using the Omnia Direct™ Output
If the AES outputs will be used to feed an Omnia Direct signal, navigate to the Omnia.9sg >
Stereo Generator > Digital Output menu and choose the appropriate source to feed the digital
Adjusting FM Diversity Delay
If the output of Omnia.9sg needs to be delayed to match an HD signal, the adjustment can be
made in the Omnia.9sg > Stereo Generator > Input Adjust menu. Separate adjustments are
provided for the digital and analog inputs. Double-clicking on the “Diversity Delay” slider will
provide coarse, medium, and fine adjustment sliders to make adjustment easier.
CHAPTER 2 | 20
Using ITU-R BS.412 (MPX Power Limiting)
Omnia.9sg supports ITU-R BS.412, a regulatory mandate in some countries which requires that
average MPX power be limited to a particular standard and measured with a rolling 60-second
integration time.
If Omnia.9sg is used in conjunction with Omnia.7 or Omnia.9, the BS.412-specific presets in
those processors should be used.
Any adjustments to the MPX power limiter should be made in the Omnia.9sg via the controls
in the Omnia.9sg > Stereo Generator > MPX Power Limit menu. Please note that it may be
necessary to set the “MPX Power Limit” slider to very different levels than the settings in the
processor’s preset to achieve the same power output level.
Omnia.9sg Settings
In this chapter, we will take a more detailed look at the various menus, sub-menus and controls
of Omnia.9sg—starting with the “Omnia.9sg” menu. This chapter will also cover basic navigation.
The menus – shown here in the “tabbed navigation” style which is selectable from the “Menu”
button at the top of the NfRemote screen, are hierarchal in nature, with highest order controls
starting at the top left, and lower, more subordinate controls at the bottom.
In the illustration below, the highest level controls (“Tier 1”) are outlined in red, followed Tier
2 outlined in yellow, then Tier 3 in green, and finally Tier 4 in orange. Not all Tier 3 menus will
have a Tier 4 sub-menu, but some do. At the “bottom” of each menu/sub-menu you will find the
individual controls, outlined here in blue.
Omnia.9sg Menu
This menu contains the sub-menus and controls for the stereo generator, composite inputs,
meter options, and both internal and external RDS settings.
Stereo Generator Menu
This sub-menu contains the controls for loading and saving presets, configuring and adjusting
the inputs, configuring and selecting the outputs, and other composite related items such as
Auto Pilot, MPX power limiting, and the controls to fine tune the clipper.
CHAPTER 3 | 22
Load Preset Menu
Once you have made changes to the various controls and settings, you will likely want to save
those for easy and instant recall. These presets can then be recalled via the “Load Preset” menu.
A list of available presets appears on the right side of the screen. Those displayed in white are
factory presets. Those displayed in yellow are user presets.
The “Current Preset” window shows the preset currently in use.
Clicking on the “Recall Backup” button will place the preset listed into the “current” location, allowing you to toggle back and forth between two presets.
Clicking on the “Diff Preset” button allows you to view differences between the current and
backup preset, providing neither have been modified and not saved. Control settings from
the current preset that are different from the backup preset will be displayed in yellow.
The “Delete Preset” button removes tough stains from your laundry. (OK, it actually
deletes the currently highlighted preset from the list, but sometimes a technical writer
grows weary of explaining the obvious and gets a little cranky). Bear in mind that the
currently loaded preset will remain active if deleted until another preset is recalled, but
will no longer be available for recall once another preset replaces it.
The “Load From” button allows a preset saved to the PC running NfRemote to be loaded
into the Omnia.9sg. This is handy for uploading a configuration saved to that PC from
another unit. Remember that “Load From” immediately loads the preset into the current
preset slot, and that the preset must be saved on the Omnia.9sg itself from the “Save Preset” menu in order to be available from the list of presets to the right of the controls. If you
need to manage presets without actually placing them on the air, you can do so through the
http interface.
CHAPTER 3 | 23
Save Preset Menu
This is where you can save any customizations or changes you’ve made to the controls in the
“Stereo Generator” section.
Clicking on “Save Preset” after typing the name of your choosing into the text field will
create a preset which can later be recalled from the list on the right side of the screen.
The “Save to PC” button saves the preset file to the location of your choice on your PC so
that it can be shared or uploaded to other Omnia.9sg units.
Input Selection Menu
Main Inputs
The primary and secondary inputs, either digital, analog, or Livewire, are chosen here. It is
not necessary to provide a secondary input but doing so allows an alternate audio source to be
placed on the air should the primary source be interrupted.
The “Input Preference” control has two settings, “Primary” and “Current”, and controls
the behavior of the input source switcher when primary audio returns after being interrupted.
Choosing “Primary” places the primary audio source back on the air as soon as it is again
available. Selecting “Current” will keep the secondary source on the air even after the
primary source returns.
CHAPTER 3 | 24
Local Input
Optionally, Omnia.9sg offers the ability to route an external or “local” audio source into the
built-in processor and in turn to the clipper/stereo generator. In addition to the standard
internal playback function, this feature provides yet another source of backup audio (plus
processing) should both the primary and secondary audio sources fail.
It can also be used to localize particular content such as IDs, liners, news, traffic, weather, or
The “Local Source” drop down menu offers access to the same physical input sources as the
main inputs – Digital, Analog, and one of three Livewire feeds.
The “Mode” control affects how and when the source selected in the “Local Source” menu
¸¸ “Off” turns off the local input completely and is the default value.
¸¸ Selecting “Mix” provides a full-time mix of the main input (which is routed directly
the the clipper and bypasses the local processor) and the local input (which is routed
through both the local processor and the clipper). Put another way, both the main input
and the local input are both “hot” at all times. This mode can be useful when the main
network feed goes silent during local breaks, but it assumes both the network silence and
the local break are perfectly timed to avoid dead air or source audio crashes.
¸¸ “Override” mutes the main audio input and activates the local input source, essentially
allowing Omnia.9sg to operate as a standalone processor.
¸¸ “Vox” mode (“Voice Activated Switch”) listens for and gives priority to the presence of
audio on the local source; if audio is present, the local source goes on the air; when the
local source goes silent, the audio source selected in the Main Input menu resumes.
¸¸ “Backup” mode is the opposite of “Vox”; it listens for and gives priority to the presence
of audio on the main source; if the main source is silent but the local input has audio, the
local source goes to air; when the main audio source returns, local is interrupted and the
main source goes to air.
CHAPTER 3 | 25
All input switching modes operate with a cross-fade; the speed at which the cross fade
occurs is adjustable by the “Fade Speed” drop down menu. When in “Vox” mode, there
is an internal look-ahead (delay) on the Local Input to ensure a perfect cross-fade as the
main audio will begin its fadeout before incoming local audio airs.
The “Hold Off” control determines how many seconds of silence are allowed before
switching from the Local Input back to the Main Input audio.
If you are using the Internal Input as a backup audio source, then a certain period of waiting would be acceptable. If you are using it to insert local content into a network window,
however, this would be unacceptable. Therefore is is possible to dynamically cancel this
waiting period by enabling “Cue Tone Detection” and inserting a set of proprietary cue
tones at the end of the local break (available as .wav or .mp3 files on the TelosAlliance.
com/Omnia website); because of the look-ahead feature on the Local Input, the cue tones
are never heard on-air.
Internal Playback
Omnia.9sg also offers an internal playback feature designed to keep you on the air in
the event the primary and secondary sources become unavailable, perhaps due to the failure of
an STL or a play-out system at the studio.
The internal player is not an automation system but it can randomize music and guarantees not
to repeat a song within twenty songs (provided you have more than 20 songs in the folder). It
can also periodically insert station liners, jingles, or legal IDs. It will not crossfade songs, but will
automatically trim any silence at the beginning and end of each track to provide tight back-toback playback.
Content is uploaded to the internal SSD via the built-in FTP server on port 7321 (passive ports
7322-7331). The default user name is either anonymous or “Omnia” There is no password as
access is controlled by the HTTP Access “white list” in the System > System Configuration >
HTTP Access menu.
The internal drive can hold roughly 15GB of music in MP2, MP3, FLAC, or WAV (PCM only)
formats. The FTP server will refuse any file that is not a supported type.
CHAPTER 3 | 26
Each root folder is available from the Folder drop-down menu. A folder for Station IDs is automatically created.
The “Gain” control sets the output level of the internal player.
The “Play” button manually starts the internal player.
“Auto Internal Playback” allows the internal player to start automatically when it detects
the loss of audio from the primary or secondary sources; the amount of time it waits to
begin playback is selectable; internal playback will stop when audio returns to the primary
or secondary input.
The “Previous” and “Next” buttons allow you to play the next or last song.
The “Mode Selector” provides playback options. “File” simply plays one cut until it is over
and then stops. “Folder” plays the entire contents of a folder in order and stops. “Repeat
File” and “Repeat Folder” repeats either a single cut or the contents of a folder respectively.
“Randomize Folder” plays the entire content of the folder but in a random order.
The frequency of station ID insertion is determined in the “Station IDs” drop-down menu.
Input Adjust Menu
All controls affecting the signal at the input of the clipper are located here.
“Input Gain” - which as noted earlier in this manual is the same as the “Clipper Drive”
control in a traditional, integrated processor – sets the amount of overall clipping. The
default “unity” value of 12.5dB should be used with processors whose insert point outputs
are pre-attenuated by this amount, such as Omnia.7 and Omnia.9. When using a processor
with an output that has not been pre-attenuated, this control should be set to +3.0dB as a
starting point with the final limiter or clipper drive on the processor feeding 9sg backed
off as much as possible. Again, you will want to back off the DRIVE to the limiter and/or
clipper on that processor and NOT simply adjust its post-clipper output gain.
The “Balance” control can be used to compensate for a left/right channel imbalance on the
incoming signal.
The “Diversity Delay” control sets the amount of delay in the analog FM composite signal
so that it can be time-aligned to a corresponding HD-1 signal.
CHAPTER 3 | 27
“Invert” reverses the phase of one or both input channels.
The “Channels” menu allows the left and right channels to be swapped, summed together
(mono), or permits either the left or right input to be placed on both channels feeding the
stereo encoder.
Livewire Input Menu
Omnia offers yet another powerful and convenient feature. Here you can take any Livewire
or Livewire+/ AES67 channel from your Axia network to feed into the Omnia There are
three Livewire inputs that can be setup. Each input can be assigned to a unique Livewire or
Livewire+ channel. Furthermore, each input can act as a five-channel selector. This can be used
to make quick selections of common Livewire channels that would be desired to feed the Omnia These route changes may also be automated via task scripts mentioned later in this manual
or with Axia Pathfinder.
An example would be if a main and backup processor existed at the main studio site and needed to be
failed over. These backup feeds could both be on their own Livewire or Livewire+/AES67 channels and
seamlessly picked to feed the Omnia, via Input 1. If a secondary backup studio location, also with
a main and backup processor existed – the same thing could be setup on Input 2 for a dual redundant
A running display of real time data is shown on this screen as well to help with troubleshooting
network path problems. A Fifo buffer can be adjusted to mitigate audio issues if jitter values are
too high over the network.
With Livewire+/AES67 MPX baseband may also be sent and received over the network and fed
directly into either of the two Omnia’s MPX inputs. These options are accessible by opening
MPX Input 1 and MPX Input 2 screens and assigned a valid MPX over Livewire+/AES67 source.
Please note, that when a Livewire channel is assigned to MPX Input 1 or MPX Input 2 this will
override the physical composite input.
To assign a Livewire channel to a bank. First click on the Channel List button and a new window
appears with all advertised Livewire channels. Select the desired channel and press OK. Alternatively, if you know the channel number ahead of time you can key that in and simply press the
Take button. Then press the Assign button, the box will glow yellow. Then simply click on any of
the Livewire preset buttons below to set it to that button.
CHAPTER 3 | 28
“Destination Name” field is used in conjunction with Axia Pathfinder routing software. An Axia
Pathfinder server can directly manipulate the Livewire input of the Omnia This name will
appear in the Destination column of an Axia Pathfinder audio router. If the field is omitted the
name will be shown as either Input 1, Input 2, Input 3, MPX Input 1 and MPX Input 2.
Livewire Output Menu
Multiple Livewire outputs from various paths within the Omnia can be generated and sent
to the network. The Overview screen will allow you to see what Livewire channels are currently
being generated, and from which source or path within the unit the channel will contain.
Setting a Livewire destination is a straightforward process. For typical outputs such as “Speaker
Out” or “Aux Out” there are just a few parameters to set. A Channel number must first be chosen, make sure this does not conflict with any Livewire channel numbers already in use on your
network. After keying in a channel number, press the Take button to set it.
The “Name:” field will set the friendly text name for the channel as advertised to the
network. The “Label:” field will add more detail in parentheses after the friendly channel
name. If the Label field is omitted, the source name such as Speaker Out or MPX Out will
be used instead. ‘Name (Label)’ is how the text will read as this channel is advertised to
the Livewire network.
The “Enable” button, when selected will start broadcasting the Livewire channel to the
network. The “Stream Mode” drop down box allows the Livewire stream to be in Standard
mode or Low Latency mode. For sources that will be monitored in real time such as Headphones or Speaker Out, Low Latency would be applicable.
MPX signals can now also be sent over the Livewire+ network.
“MPX Out”, “MPX Input 1” and “MPX Input 2” selections will include the full baseband
signal into its respective Livewire channel. These are setup almost identical to the regular
Livewire audio streams. Please note that the Stream Mode options are called “MPX Std”
and “MPX Low Latency” instead.
The Clock menu will allow selection of either the standard Livewire clock method or using
PTP IEEE 1588 clock source. Please contact support if you feel that this mode needs to be
set to PTP.
CHAPTER 3 | 29
MPX Menu
Adjustments that affect the normal composite outputs and the Omnia Direct composite over
AES outputs are found here.
The “MPX 1 Output Level” and “MPX 2 Output Level” controls determine the output
modulation of the corresponding rear panel outputs.
The “MPX 1 Output Mode” and “MPX 2 Output Mode” controls determine which composite signals are routed to the output including the processed input signal or composite
inputs from other processors via the MPX inputs on the rear panel.
The “MPX Test Generator” section contains tones and sweeps that are useful for testing
and proofing transmission path components.
The “RF Bandwidth Controller” feature is described in detail in Chapter 1, but to summarize, it can be used to measure and manage the occupied bandwidth of the composite
signal. This is especially helpful for keeping receivers with a narrow “front end” happy, for
helping mitigate multipath distortion, and for optimizing modulation performance per
ITU Recommendation 1268.
The “Stereo Encoding” control is set to the usual dual sideband operation by default.
Selecting “Single Sideband Standard” completely turns off the upper sideband, but as
some receivers will switch to mono in this mode, two other options are available that offer
a compromise by allowing audio below 12kHz to occupy both lower and upper sidebands
while restricting audio above 12kHz to occupy only the lower.
“Single Sideband Smooth 12K” skews its slope more toward a true single sideband model
while “Single Sideband Steep 12K” gets closer to the traditional dual sideband mode.
Omnia.9sg’s composite embedder, as mentioned in Chapter 1, is capable of generating L/R
peaks well in excess of 100% while still maintaining 100% total modulation. This ability
provides up to 3dB of extra headroom in the clipper, especially at higher frequencies,
which allows for a very clean and open high end even when processing aggressively.
CHAPTER 3 | 30
However, some receivers don’t handle this additional L/R modulation as well as others
and so the “Clipped Demodulated Peaks” adjustment is provided to control the extent to
which the L/R clipper is allowed to exceed 100%. A value of 1.0 allows L/R peaks of no
more than 100%; a value of 1.5 allows L/R peaks of up to 150%.
The “Pre-Emphasis” control enables and selects a pre-emphasis curve. Ideally, Omnia.9sg
will be fed with flat, non-pre-emphasized audio so that proper pre-emphasis can be performed internally using either a 50us (for Europe) or 75us (for U.S.) curve. However, a
flat output can be selected if desired.
The “Pilot Level” control – as much to our surprise as yours – adjusts the percentage of
pilot injection into the composite signal. In an ironic twist, higher values equate to higher
pilot injection. Setting this control to 0% will disable the pilot output completely.
The rear panel “MPX Input” jacks can be used to pass through an SCA signal (including
DARC) in the 60 – 90kHz range. The signal is digitized and brick-wall filtered, then passed
through to both the analog BNC composite and Omnia Direct (MPX over AES) outputs.
Individual inputs or a combination of both are selectable from the “SCA Mode” menu
while levels are controlled by the “SCA Gain” slider.
Digital Output Menu
The source feeding the rear panel AES Digital Output is set here and includes Omnia Direct,
which allows a composite signal from Omnia.9sg to be carried on a single AES-EBU cable connection between the stereo generator and an Omnia Direct-enabled transmitter.
Additionally, audio from any patchpoint available in the “Speaker Out” or “Aux Out” menus
(discussed in detail later in this manual in the chapter on “Monitor Outputs”) can be routed to
the AES output.
CHAPTER 3 | 31
Auto Pilot Menu
As explained in detail earlier in the manual, Auto Pilot allows the stereo pilot to be turned off
when source material is mono and seamlessly re-enabled when the source is stereo, providing
significant improvements to noise levels and multipath distortion.
This feature is toggled on and off by the “Auto Pilot” control.
The “Stereo Sense” control determines the level at which stereo audio in conjunction with
a mono source (such as a soft stereo music bed running under an otherwise dry voice) is
considered true stereo. Higher settings make the switching more sensitive to such stereo
content and will accordingly turn the pilot back sooner.
Power Limit Menu
ITU-R BS.412 standards require the average MPX power to be limited to a particular standard
and measured with a rolling 60-second integration time. It is assumed that whatever processor is
feeding Omnia.9sg will employ processing presets optimized for power limiting.
The power limiter is enabled/disabled using the “MPX Power Limiter” control.
The “MPX Power Limit” control is used to set the desired power level which can be displayed in any of the “Modulation Monitor” displays. Setting up and understanding these
(and other) displays is covered in detail in the chapter on “Display Settings”.
Selectable “Standard” or “Aggressive” limiter styles are offered. As expected, “Standard” is
the gentler and less audible of the two, while “Aggressive” allows levels closer to the targeted
power limit to be maintained but at the possible expense of more audible limiter action.
CHAPTER 3 | 32
Clipper Menu
The clipper menu contains controls that allow the sound and texture of the clipper to be fine
tuned. Please remember that the overall clipper drive is determined by the “Input Gain” control
in the “Input Adjust” menu.
Highs Menu
These controls affect the sound and texture of middle and higher frequencies.
Enabling the “Sparkling Highs” control preserves the openness and enhances the texture of
very high frequencies, especially when the incoming program material has a high degree of
high frequency content.
“Phat Mids” warms up and enhances mid-range frequencies, particularly male and lower
female voices. Please note that “Sparkling Highs” must be enabled for “Phat Mids” to be
selectable; if “Phat Mids” is enabled and “Sparkling Highs” is turned off, the “Phat Mids”
indicator will remain yellow and switch back on when “Sparkling Highs” is re-enabled, but
will be grayed out and removed from the audio path until such time.
The “High Frequency Edge” control sets tradeoff between highs that are always clean and
free from distortion and a consistent high frequency output at the expense of distortion.
A setting of “0” will yield the cleanest highs but with less overall brightness. A setting of
“100” will result in a uniformly bright sound but at the risk of more audible distortion, and
sounds more like the original Omnia.9 clipper when pushed for loudness.
CHAPTER 3 | 33
Lows Menu
These controls affect the texture and feel of the bass clipper and are sub-divided into two groups:
“Bass Intermodulation Protection” and “Bass Shape”
The controls in the “Bass Modulation Protection” section are primarily responsible for distortion management, particularly intermod distortion, and for the behavior of the bass clipper.
Unless you specifically want the presence of intermodulation distortion (where strong
low frequency material can attenuate or audibly distort higher frequencies) we strongly
recommend the “Intermod Distortion Protection” control be left enabled.
The “Clip Threshold” control is the point at which bass clipping will occur under normal
circumstances and is analogous to a traditional “bass clipper threshold” control.
When bass at the level set by the “Clip Threshold” control would cause audible IM distortion, it will instead by clipped at the point determined by the “Protection Threshold”
control. Note that if both the “Clip Threshold” and “Protection Threshold” controls are
set to the same value, the bass clipper will operate in the traditional manner with a fixed
threshold in all cases.
The “Punch Threshold” control allows the initial edge of the bass waveform to be clipped
at a different threshold for extra bass punch; the amount of time this threshold is active is
determined by the “Punch Duration” slider.
The controls in the “Bass Shape” menu help set the “texture” of the bass.
Unlike most bass clippers, the one in Omnia.9sg can (but does not have to) create a square
wave when processing strong low frequency content. Setting the “Bass Shape Strength”
control at “0” (0%) will always prevent square waving the bass resulting in a very smooth
low end texture, but one that does not offer the “slam” of a traditional Omnia clipper
even on the initial peak of a bass transient waveform. Advancing the control toward “1”
(100%) will produce more square waves, increasing the bass “punch” and overall loudness, but at the possible expense of more distortion in the low end.
The “Bass Shape Frequency” control sets the frequency of the highest harmonic produced
by the bass clipper. Higher settings will produce more and higher harmonics and create a
more complex and frequency-rich bass sound.
CHAPTER 3 | 34
TCP Link Status Menu
Please note that this menu is available in multiple places throughout the user interface but we
encounter it here first, so we will cover now but not again in subsequent chapters.
This status screen provides a comprehensive look at various parameters in the NfRemote
connection to Omnia.9sg including the ping time between the host PC and Omnia.9sg, the
bandwidth of the connection, the rate and amount of sent and received data, and the duration of
the NfRemote session.
Given adequate bandwidth, audio streamed back from the Omnia.9sg to the host PC by the
“Client Audio” service (details of which are provided in the chapter on Client Audio) will be
lossless in nature and is indicated in the “Audio Format” field.
A data compressed (lossy) coded version of the audio will be created if the network bandwidth
cannot provide a reliable audio stream with linear audio. The software can dynamically adjust as
network speeds vary.
CHAPTER 3 | 35
Display Settings Menu
Like the “TCP Link Status” menu, the “Display Settings Menu” appears in multiple locations
throughout the UI but will be described in detail only once.
The display windows for Omnia.9sg within NfRemote are highly configurable and can be customized to show a wealth of information from the so-called “Omnia Toolbox” including input
level meters, output LKFS loudness levels, modulation figures, and information from various
patch points from within the signal path as represented on a digital oscilloscope, FFT, or RTA.
A row of six “Display Preset” buttons is located at the top right corner of the NfRemote display,
outlined here in red. Each display preset can show up to eight display windows, outlined here
in green. The number of simultaneous displays used in each preset will depend primarily upon
monitor size as adding displays reduces the size of each individual window and will, on smaller
monitors, quickly make them less readable and useful.
Note that the proportional size of the upper, middle, and lower sections of the screen can be
adjusted by clicking and dragging the two resize bars (outlined in orange). This allows more or
less space to be devoted to the displays, menus, and controls as needed.
Clicking on the “Display Settings” button from within any menu that offers it will immediately
bring up the display settings controls as will clicking on any of the displays themselves at any
time. The active window will feature a yellow box around it and its control will be highlighted in
the control portion of the screen.
The menus and sub-menus to the right of the eight display buttons determine what will be
displayed in any particular window. A detailed description of all possible displays follows here.
CHAPTER 3 | 36
This section has displays for pre-final audio (just before the clipper), processing meters for the
local processor, and I/O signal metering.
The “Pre-Final Meters” display shows the audio levels just ahead of the final clipper plus an
LKFS loudness measurement, whether the input is mono or stereo. A power limiter meter
is also provided if the MPX Power Limiter is enabled.
The “Local Processor” display shows input, output, and wideband/multiband meters for
the processor used by the internal player and the optional local insertion audio source.
The “I/O Meters” display shows the levels of all input audio sources and all physical outputs.
CHAPTER 3 | 37
Loudness Meters
ITU-R BS.1770 loudness meters and graphs can be displayed from this menu.
The “Loudness Meters” display shows a bar graph and a numeric LKFS loudness value for
the pre-final input, the input of the local processor, the composite (MPX) output, and
both composite inputs.
The “Short Term Loudness” graph can show recent loudness measurements over time;
the exact length of time will vary depending upon display size, with longer periods of time
being available with more space. This is further adjustable by the “X Range” control. The
“History” control can be used to look at data recorded further back in time than can be
displayed in the current scrolling window.
The graph can measure pre-final input audio levels, local processor input levels, MPX
output levels, or the inputs of either rear panel composite input. Adjustments to the Y-axis
are provided should it be necessary to shift or zoom to better read the graph in greater
detail. The “Time” menu is set to “Relative” by default (showing the elapsed time relative
to the present) but can be changed to an actual time value if desired. “Local” references the
internal clock of Omnia.9sg. “Remote” references the internal clock of the PC running the
NfRemote session. “UTC” is true universal time with no local offset applied.
The “Momentary Loudness” graph works in exactly the same was as the “Short Term
Loudness” version but provides a more detailed view over a much shorter period of time.
CHAPTER 3 | 38
Modulation Monitor
Omnia.9sg can display modulation information in a numeric form, on bar graph meters, and,
when using the MPX Power Limiter, a power graph. Exactly which values are displayed in any of
these formats is determined by the settings in the “Meter Options” menu which are covered in
greater detail in the “Meter Options” chapter.
The “Numeric Modulation” display can show MPX Power, total modulation, L/R modulation, and pilot levels as a numeric value.
The “MPX Power Graph” display shows loudness trends over time and operates in much
the same way as the loudness graphs described in the “Loudness Meters” section above.
The “Modulation Meters” display can show all of the same information as the “Numeric
Modulation” display, but with bar graph meters.
CHAPTER 3 | 39
Information about the action of the clipper as well as details about the audio signal from various
patch points within Omnia.9sg via an oscilloscope, FFT spectrum analyzer, and RTA are available from this menu.
The “Oscilloscope” display brings up the controls and various patch points for the built in
digital, over-sampled oscilloscope. While you’ll find many of the same controls as a typical
‘scope such as gain and zoom, ours has a few “extra” tricks up its sleeve like adjustable limit
lines and phosphor persistence. Selecting the patchpoint of interest via the well-labeled
menus and sub-menus should be fairly self-explanatory.
The “RTA” display provides a 1/3 or 1/6 octave real time analyzer, a useful tool for showing
overall “shape” of the audio from various patch points.
The “FFT Spectrum Analyzer” provides a wealth of information about the audio and
composite (MPX) signals throughout the processing chain. Especially useful is the multiplexed composite output display which gives a detailed view of upper and lower sidebands,
the pilot, and the RDS signal.
CHAPTER 3 | 40
The “Clipper” display shows the clipping action and depth of both the main and the
bass clipper.
The “Client Audio” feature will be explained in greater detail in a later chapter, but for now,
it is sufficient to just be aware that its output levels and protection limiter activity can be
viewed in the display windows if desired.
MPX Inputs Menu
Omnia.9sg offers two rear panel composite (MPX) inputs which can be used to feed the output
of an external RDS generator, the composite output of another processor, or the composite
output of a tuner or frequency-agile modulation monitor.
These inputs can also be used for inserting 67 and 92kHz audio or data SCAs as well as a DARC
(Data Radio Channel) sub-carrier.
The controls for both MPX Input 1 and MPX Input 2 are identical.
MPX Input 1/MPX Input 2 Menus
Controls to adjust the input gain, source pre-emphasis, delay, equalization, and tilt are offered.
“Input Gain” sets the input level of the MPX input.
The setting of the “Source Pre-emphasis” control determines the amount of de-emphasis
(if any) applied when the MPX input signal is selected as a source in a display window
or auditioned in one of the monitor output patch points. Typically, it should match the
pre-emphasis of the incoming composite signal.
CHAPTER 3 | 41
The “Add Delay” control allows the audio being fed to the MPX input to be delayed to
match the latency of Omnia.9sg.
Enabling the “PEQ” button turns on the 2-band parametric equalizer. The center frequency, width, and gain controls work in the traditional manner, while the “Phase” control
offers a choice of phase linear, phase forward, or phase reverse equalization.
The output of most mod monitors and tuners have some tilt present, for which the “Tilt
Amount” and “Tilt Coefficient” controls can compensate.
After correcting for tilt, it is still possible to have some DC offset remaining due to differences in infrasonic frequency between the tilt control and the material that caused the tilt
in the first place. The “DC Servo” control can be used to compensate for this, but because
it moves the entire waveform it technically invalidates the initial measurement and “fixes”
the problem even if it originated in the transmitter. Accordingly, it should be used with
Choosing “Peak-based” provides the most accurate compensation but should be used only
if the incoming signal is pristine as any noise may be misinterpreted as an actual audio
peak. “Average-based” sacrifices some accuracy but is more tolerant of noisier signals.
Local Processor Menu
In its role as a standalone stereo generator, Omnia.9sg will be ordinarily fed pre-processed audio
and be responsible only for final clipping and creating the composite signal.
However, since it has an internal player to provide audio should the primary and/or secondary
signals go away and can optionally insert local audio into the final clipper, built-in audio processing for these sources is provided.
The basic processing architecture and algorithms are nearly identical to those in our Omnia.7
and Omnia.9 processors, but more basic in nature. Included are downward expanders, an input
AGC, a second wideband AGC, a four-band parametric equalizer, a multiband stereo enhancer,
two, three or four bands of multiband AGC and limiting, a band mix output control, and clipper
settings with identical controls to those found in the main section of Omnia.9sg, but used only
when the internal processing is active.
CHAPTER 3 | 42
As with Omnia.7 and Omnia.9, factory presets load at a basic adjustment level. In the majority
of cases these adjustments provide all the control needed for the most common tweaks and
modifications to achieve a desired sound or loudness level.
Descriptions of the basic processing controls in this manual will be kept deliberately brief as it is
expected that the built-in processing will be used only in emergency situations (for the internal
player) or for limited content insertion (for the optional local audio insertion feature).
An explanation of the hundreds of controls found in the Intermediate and Advanced adjustment
levels will not be provided here. Should you feel the need to modify a factory preset to that degree and need per-control information, it can be found in either the latest Omnia.7 or Omnia.9
manual at
Load Preset Menu
The “Load Preset” menu allows you view the preset currently on the air, toggle back and forth
between the current and backup presets, load a new preset, compare the settings of two presets,
and delete user presets.
Changing any parameter of a preset will cause a modified flag (“M”) to appear next to the preset
name indicating that it has been changed but not saved as a unique preset.
Save Preset Menu
The “Save Preset” menu allows you save a modified version of an existing preset and give it a
unique name. Once saved, this preset will show up in the list of available presets but in yellow,
indicating that it is a user preset. Factory presets are white.
CHAPTER 3 | 43
Preset Protection Menu
Presets can be password protected to prevent any modification. It also prevents them from being
copied for use in another Omnia.9sg. Settings for protected presets will be hidden from view as
long as the preset is locked. Enter the desired password, follow on-screen verification prompts,
enter a unique name for the protected preset, and save it. Remember not to leave the unencrypted version of your preset loaded in the “Backup Preset” slot!
About Preset Menu
The “About Preset” menu contains information about the current preset including its current
adjustment level (Basic, Intermediate, Expert), its author, and a description of its characteristics.
CHAPTER 3 | 44
Input Conditioning Menu
The “Input Conditioning” menu contains the controls for the multiband downward expanders
which can be helpful for managing noisy content (such as tape hiss on old recordings) or environmental noise (such as HVAC noise).
The “Noise Reduction Amount” slider controls the maximum amount of downward
The “Noise Reduction Threshold” control determines the point at which the expanders
being to react.
Enhance Menu
The “Enhance” menu provides control over the spectral balance of the processed audio as
well as the amount of stereo enhancement.
With 4 band presets, “Deep Bass” control makes simultaneous adjustments to several
individual controls including the lowest band of the parametric equalizer, the target level
of Band 1 in the multiband AGC, and the setting of the Band 1 Band Mix control. In 2 or 3
band presets, only the parametric EQ is adjusted.
The “Warmth” control works in the same manner as “Deep Bass” but operates on the
mid-bass and low-mid range of frequencies. In 2 or 3 band presets, only the parametric EQ
is adjusted. With 4 band presets, the target setting of Band 2 in the multiband AGC and the
output level of Band 2 in the Band Mix controls are also adjusted.
CHAPTER 3 | 45
The “Presence” control adjusts high-mid frequencies and adjusts only the parametric EQ
regardless of the number of bands of multiband processing employed.
The “Brilliance” control adjusts the high frequencies. In 2 and 3 band presets, only the
parametric EQ is adjusted. In 4 band presets, the target setting of Band 4 in the multiband
AGC and the output level of Band 4 in the Band Mix controls are also adjusted.
The “Stereo Enhancer” control turns the multiband stereo enhancer on or off. The total
amount of stereo enhancement is adjustable via the “Stereo Amount” control.
Gain Riding Menu
The behavior of the wideband AGC’s (Input AGC and Wideband AGC) is determined by the
settings of the controls in this menu.
The setting of the “Gain Riding Range” control affects only the Input AGC and determines
the amount of available gain. Setting this control too high may provide too much room for
low level audio to be raised up while not providing enough room to adequately attenuate
higher input levels. Conversely, setting it too low may not provide enough gain to increase
low incoming levels.
The “Power” control simultaneously adjusts the ratio of both the Input AGC and the
Wideband AGC. Advancing the control tightens the ratio and provides more consistency
with varying input levels. Moving the control to the left loosens the ratio and yields a more
open sound.
The “Speed” control simultaneously adjusts the attack and release rates of both the Input
AGC and Wideband AGC. Higher settings translate to faster attack and release rates, but
because the actual attack and release speeds are program dependent, the numeric value
on the control is for relative use only and simply represents the position of the slider (0 =
control completely to the left, 100 = control completely to the right).
CHAPTER 3 | 46
Multiband Menu
The controls in the “Multiband” menu work much like their counterparts in the “Gain Riding”
menu (as the sharper students in the class may have already surmised) but affect the multiband
Bypass Menu
Enabling the “Bypass Processing” button bypasses all dynamics processing. The “Bypass Gain”
control should be set so that the level of unprocessed (bypassed) audio matches the average
level of process audio as closely as possible.
CHAPTER 3 | 47
Clipper Menu
In most cases, it will be desirable to select and/or modify one of the presets in the built-in processor to match the texture and loudness of the main processor as closely as possible, but since
Omnia.9sg can be fed from any processor, there will be differences. Accordingly, the clipper
settings in Omnia.9sg will need to be different when using the internal processor, so individual
controls are provided here. These settings are only used when the internal processor is active,
that is when the source audio is being provided by the internal player or (optionally) via the
local audio insertion path.
Drive Menu
In the basic adjustment mode, a single “Final Clip Drive” slider controls the overall amount
of clipping.
Highs Menu
These controls affect the sound and texture of middle and higher frequencies.
Enabling the “Sparkling Highs” control preserves the openness and enhances the texture of
very high frequencies, especially when the incoming program material has a high degree of
high frequency content.
“Phat Mids” warms up and enhances mid-range frequencies, particularly male and lower
female voices. Please note that “Sparkling Highs” must be enabled for “Phat Mids” to be
selectable; if “Phat Mids” is enabled and “Sparkling Highs” is turned off, the “Phat Mids”
indicator will remain yellow and switch back on when “Sparkling Highs” is re-enabled, but
will be grayed out and removed from the audio path until such time.
The “High Frequency Edge” control sets tradeoff between highs that are always clean and
free from distortion and a consistent high frequency output at the expense of distortion.
A setting of “0” will yield the cleanest highs but with less overall brightness. A setting of
“100” will result in a uniformly bright sound but at the risk of more audible distortion, and
sounds more like the original Omnia.9 clipper when pushed for loudness.
Please note that the “Lows” menu and the controls it contains are only available in the Intermediate and Expert adjustment levels.
CHAPTER 3 | 48
Meter Options Menu
Exactly which meters appear in the Loudness Meter, Modulation Meter, and Modulation
Numeric display windows is determined by enabling or disabling various options in this menu.
If you do not see a meter you expect to see in any of the graphs or meters, check this menu to
ensure the one you are looking for has been enabled.
The following is a list of which meters are available in each window:
“Pre-final” and “Local Pre” are available in the Loudness Meter display
“MPX Output”, “MPX Input 1”, and “MPX Input 2” are available in the Loudness Meter,
Modulation Meter, and Modulation Numeric displays
“MPX Power Graph” is available only in the MPX Power Graph display
“Loudness Graph” is available in both the Short Term and Momentary Loudness displays
“MPX Power Meter”, “Peak Modulation Meter”, “Pilot Level Meter”, and “L/R Level
Meter” are viewable only in the Modulation Meters display
“MPX Power Numeric”, “Peak Modulation Numeric”, “Pilot Level Numeric”, and “L/R
Level Numeric” are available only in the Modulation Numeric display
The “MPX Power Limit” slider is normally adjusted to the same value as the MPX Power Limit
control in the Stereo Generator menu. It is responsible for controlling the color of the MPX
Power Graph, the color of the Power readout in the Modulation Numeric display, and the color
and scale of the Power display. The responsiveness of the Power Limiter meter in the Pre-final
Meter display window can be adjusted with the “Peak Response Time” control.
CHAPTER 3 | 49
RDS Menu
Omnia.9sg has a full-featured built-in RDS encoder and also supports the use of external
encoders through its dual MPX inputs. A pilot signal is not required from external encoders as
Omnia.9sg will always use its own internal reference to generate RDS even if the pilot is disabled
during mono programming. Please note that the MPX inputs cannot be used to insert an SCA
RDS Main Menu
Controls for turning RDS on and off and for selecting between the internal and an external RDS
generator are located here, as is the slider to control the injection amount. UECP information
can be added here as well.
Main Sub-Menu
The “RDS Mode” control turns off RDS altogether or selects between the internal RDS
generator and an external generator.
When RDS is enabled, the “Injection Level” control adjusts the percentage of data injection.
Current PS, RT, and Time information are also displayed.
CHAPTER 3 | 50
UECP Sub-Menu
UECP (Universal Encoder Communications Protocol) is a standardized protocol for communicating with RDS encoders and provides the ability to address all encoders, specific groups of
encoders, or individual encoders. This is particularly useful in non-U.S. applications where the
use of RDS is more highly developed and embraced and where identical content is broadcast
from multiple geographically-diverse transmitter sites.
The “Use UECP” button enables/disables UECP. Enabling UECP will utilize data coming in
from the automation system or other external data source in lieu of any internal settings.
The “UECP” field is used to specify the IP port on which UECP RDS data is received.
Clicking on the “Update UECP” button will confirm the port entry made above or update it
if changed.
Enabling “Use Internal Settings on Connection Drop” will utilize any data entered into the
internal RDS fields when if the connection to the external data source is lost. When the
connection is re-established, the data from the external source will once again be applied.
As UECP supports very granular addressing of RDS traffic, data can be targeted to reach a
particular transmitter site(s) or even a particular RDS encoder(s). Enabling “Listen to
Specific Address” and entering the Site Address AND Encoder Address in their respective
fields will allow Omnia.9sg’s RDS encoder to receive this specific information.
The “DSN” (Data Set Number) and “PSN” (Program Service Number) fields can optionally be used to further narrow down and filter applied information from the data source.
CHAPTER 3 | 51
RDS Station ID Menu
This menu provides fields for entering Program Service (PS) and Radio Text (RT) information
as well as the Program Information (PI) Code.
Normally the “PS” field is used as an 8-character static display and contains the station’s
call letters, but it is possible to program it to provide additional information such as title
and artist, or station slogan. This field can optionally be updated dynamically by an automation system via the http interface or UECP.
By splitting text with the “/” symbol, each text block will alternate for 3 seconds – for
example, “WOMN-FM/88.5 FM/CLASSIC/ROCK”.
To change the amount of time each text block is displayed, enter the desired time in
from of the text in seconds – for example, “1.5sWOMN-FM/1.5s88.5 FM/1.0sCLASSIC/1.0sROCK”.
The “RT” field provides space for a 64-character free-form message that many radios will
display in addition to the PS field, either automatically or on demand. Like the PS, it can be
a static field (to provide a station slogan for instance) or dynamic (to provide song title
and artist information). Dynamic updating is accomplished through the http automation
interface or UECP. This field will be greyed out unless “RadioText” is enabled in the “Flags”
menu described later in this chapter.
The “PI Code” field is a hexadecimal number that normally corresponds to your station’s
call letters. A handy PI code translator can be found at
rdsreverse.htm. Remember to use the HEXADECIMAL result.
CHAPTER 3 | 52
Program Type Menu
Controls for choosing the RDS mode (USA or Europe), enabling Dynamic Program Type
(PTY), and choosing a PTY code are located here.
Choose “RDS” (for European applications) or “RBDS” (for U.S. use) in the mode dropdown menu.
When enabled, “Dynamic PTY” indicates to listeners that the type of programming on
your station may change periodically, for instance, music during the week but sports on the
weekends. The PTY code can optionally be updated by your station’s automation system
via the 9sg http interface.
The “PTY Code” list provides a choice of the 31 standard program formats for static selection, and will reflect any changes made via the http automation interface if dynamic PTY is
Flags Menu
Enable/disable buttons for standard RDS “flags” are found here.
When the “Radio Text” button is enabled, whatever information has been entered into
the “RT Field” in the RDS Station ID menu will be displayed. Note that the RT field will be
greyed out unless this flag is enabled.
The “Traffic Program” (TP) flag allows listeners to find stations that regularly broadcast
traffic bulletins. This flag would generally be used in connection with the “Traffic Announcement” (TA) flag described below.
CHAPTER 3 | 53
When enabled, the “Time Code” (CT-Clock Time) flag will broadcast the system time
from 9sg via the RDS subcarrier. If you choose to enable this feature, be SURE your 9sg is
synced to a reliable source of NTP time (System > Time/Date > NTP > NTP Synchronization). Failure to do this WILL lead to listener complaints as their radios change their
clocks when they tune to your station.
Enabling the “Compressed” decoder information control to indicate the audio has been
processed, though most modern RDS receivers simply ignore this control as its use and
acceptance have become uncommon.
The “Stereo” decoder information control identifies the station as broadcasting in stereo.
The “Music” decoder information control identifies the station as one that offers primarily
music content (as opposed to talk or speech) which in turn allows certain receivers to
alter the volume for differing content. It can be turned on and off as programming changes
through a request to the built-in http server.
The “Artificial Head” decoder information control – also now rarely used – indicates the
use of a binaural microphone.
When enabled, the “Traffic Announcement” (TA) flag (on certain receivers) can actually
stop the playback of non-broadcast media such as a CD or auxiliary audio input and tune
into a broadcast station when a traffic bulletin is received. This command would typically
be automated through the http server and used in conjunction with the “Traffic Program”
(TP) flag described earlier.
Alternative Frequencies Menu
Broadcasters who offer the same programming on multiple frequencies can take advantage
of an RDS receiver’s ability to search for and tune into up to 16 alternative frequencies when
the signal of the current frequency weakens. The “Alt Freq 1” and “Alt Freq 2” menus allow
you to specific those frequencies. Use this feature with caution as it may not be consistently
implemented on different receivers. Typically, it would be used in very large networks with
overlapping transmitters on the same groups of frequencies.
Monitor Outputs
Omnia.9sg offers three monitor outputs – “Headphone”, “Speaker”, and “Aux” – which can be
used to take audio from a particular physical input or from various soft patch points within the
audio path and route that audio to a particular destination. These destinations can include a
physical output (such as the rear panel AES output or front panel headphone output to aurally
monitor the audio) or an instrument display such as the oscilloscope, FFT spectrum analyzer,
or RTA.
The “Headphone” monitor output is unique among the three outputs in that its output is hard
wired to the front panel headphone jack. The “Speaker” and “Aux” monitor outputs are identical
in everything but name, and can be soft routed as described above.
The concept and function of the monitor outputs can be confusing, but it helps to keep these two
points in mind:
The INPUT to the monitor output – that is, the source audio that can potentially feed a
physical output or a display – is set in the in the “Patch Point” menu (described in greater
detail below) here in the Monitor Outputs menu.
The OUTPUT of the monitor output – that is, the audio from the selected patchpoint – can
be picked up as a source in various places throughout the system, including the headphone
jack, AES output on the rear panel, or in the Display Settings menu under the “Instruments” menu.
As the menu structure and controls for all three outputs are identical, the following information
applies across the board (including “Client Audio”, described in a later chapter).
Headphone/Speaker/Aux Output Menu
This sub-menu broadly categorizes the various input types available for monitoring. It contains
sub-menus of its own for selecting the patch point, loading and saving monitor presets, as well
as monitor-specific gain and EQ controls. These sub-menus are identical in terms of the controls
that are offered. The only difference is in which monitoring path is being adjusted.
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Patch Point Menu
Three audio input sources are presented here – “I/O”, “Physical Inputs”, and “MPX Decoded”.
I/O Menu
“Pre-final” represents the main audio source at the input of the clipper. “Local Processed” is the
output of the built-in processor which can be fed from either the internal player or from the local
audio insertion source. “Local Pre” is the input to the internal processor. “MPX Input 1” and
“MPX Input 2” correlate to the output audio of any device connected to the composite inputs. A
full composite output signal of Omnia.9sg itself is also available by selecting “MPX Output”.
Physical Inputs Menu
Audio from either the rear panel AES Digital input or Analog input is offered here.
MPX Decoded Menu
Decoded (pre-emphasized/de-emphasized) audio can be monitored here from either Omnia.9sg’s own composite generator via the “MPX Output Decoded” option, or from either of the
composite inputs via “MPX Input 1 Decoded” and “MPX Input 2 Decoded” buttons.
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Load Preset Menu
Because Omnia.9sg (along with the “Client Audio” feature built into NfRemote) provides all
of the tools – minus a calibrated microphone – to perform speaker/room calibrations for each
Monitor Output, it also provides a means by which to store those calibrations for later recall in
the form of presets.
Remember that these are NOT the same as your on-air processing presets! These affect ONLY
the Monitor Outputs. The menus and controls, however, operate in exactly the same way.
The “Current Preset” window shows the preset currently in use.
Clicking on the “Recall Backup” button will place the preset listed into the “current” location, allowing you to toggle back and forth between two presets.
Clicking on the “Diff Preset” button allows you to view differences between the current and
backup preset, providing neither have been modified and not saved. Control settings from
the current preset that are different from the backup preset will be displayed in yellow.
The “Delete Preset” button does exactly that: Deletes the current preset. It will remain the
current preset until another preset is recalled, but will no longer be available for recall once
another preset replaces it.
The “Load From” button allows a preset saved to the PC running NfRemote to be loaded
into the Omnia.9sg. This is handy for uploading a configuration saved to that PC from
another unit. Remember that “Load From” immediately loads the preset into the current
preset slot, and that the preset must be saved on the Omnia.9sg itself from the “Save Preset” menu in order to be available from the list of presets to the right of the controls.
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Save Preset Menu
The menus and controls here work the same way as their counterparts elsewhere in the menus.
Clicking on “Save Preset” after typing the name of your choosing into the text field will
create a preset which can later be recalled from the list on the right side of the screen.
The “Save to PC” button saves the preset file to the location of your choice on your PC so
that it can be shared or uploaded to other Omnia.9sg units.
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Main Menu
The “Main Menu” contains five sub-menus with their own sets of controls which are used for
room and speaker calibration.
While the 9sg is somewhat unique in that the speaker calibration controls would not typically
be used for the same purpose they are on Omnia.9 (setting your processing) it can still be useful
to create a calibrated monitoring reference when you are using the 9sg with OTHER processing
that does not include the extensive built-in monitoring and test instrumentation provided by 9
and 9sg.
Main Menu (No, this is not a typo—we liked it so much we put it there twice!)
The “Main Menu” contains basic gain controls to set the output levels of each Monitor Output
when creating a calibration profile.
The “Volume” slider adjusts the output level to the the specified Monitor Output.
Enabling the “Bypass” control removes any parametric EQ settings, loudness contours, or
high pass filtering from the Monitor Output.
Enabling the “Lock” control will gray out all controls in this menu to prevent them from
accidentally being changed or tampered with and prevents any other users remotely connected to the unit from changing the selected patch point.
The “Pink Noise” controls enable/disable the built-in pink noise generator per channel
(left or right).
Each Monitor Output contains protection limiters which are useful as speaker calibrations
are typically done at higher volume levels and can involve radical amounts of parametric
equalization in the pursuit of a flat frequency response. When these limiters are active, you
will notice orange bars extending from the corresponding volume control sliders. When
this occurs, use the “Master Gain” control to attenuate the overall gain and prevent the
limiters from stepping in. If you have made significant cuts to particular frequencies, you
may need to raise the “Master Gain” control so that the output level more closely matches
that of the original, un-calibrated output – especially useful when “A/B-ing” the audio with
the “Bypass” control.
The “Left Level” and “Right Level” controls allow the gain to be adjusted independently in
each channel and act as a “balance control” in situations where the left and right speakers
are not equally spaced from the monitor point.
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The “Bypass Gain” control adjusts the output gain when the “Bypass” control is enabled.
Individual left/right controls are provided here as well.
The “Solo” controls allow only one channel at a time to be monitored.
X-Over Menu
The “Main Menu” contains controls that allow high-pass and low-pass filter frequencies to be
set and also permit different high pass filtering depending upon the setting of the “Volume”
control. This can compensate for systems that have an uneven frequency boost applied to make
them sound better at low volumes which does not scale appropriately with increased volume.
Enabling the “Volume-based High Pass Filter” enables or disables this feature. The main
high pass and low pass filters on the right half of this screen are still active unless set to
The “Volume” control is a duplicate of that found in the “Main” menu placed here for
convenience. Monitor protection limiter activity (described earlier) will be displayed in
this control.
Two sets of “@ Volume” and “High pass filter” controls are provided to customize the
threshold and shape of the volume-based high pass filter.
The volume-based high pass filter sliders set the lowest frequencies permitted to pass
through the Monitor Output once the thresholds set in the “@ Volume” sliders are crossed.
If the “@ Volume” slider is set to “0”, that volume-based high pass filter will be active at all
volume levels. The default and lowest value (unless disabled) is 15 Hz.
The two sets of volume-based high pass filter controls interact. If, for example, the first
“High pass filter” control is set to 135Hz with the associated “@ Volume” control set to
-35dB and the “Volume” is control set at 0.0dB, the filter will be set at 15 Hz, which is the
default frequency of the 2nd volume-based high pass filter control.
As the “Volume” level is decreased you will see the high pass filter frequency begin to rise.
By the time it gets to -35dB – the threshold set by the first “@ Volume” - it will high pass at
135Hz, the frequency set in the first volume-based high pass filter control.
In addition to the volume-based high pass filters, there are also fixed frequency high and
low pass filters for both left and right channels. These can be linked in the “Channel Coupling” menu described below.
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Delay, Phase Menu
This menu allows setting delays on the left channel, right channel, or both. Along with the
individual channel volume controls described earlier, this can compensate for monitors that
are not equally spaced, which would result in slightly different arrival times for the audio from
each monitor speaker. Controls are provided to completely invert the polarity of either the left
or right channel as well. This can compensate for mis-wired cabling resulting in one monitor
channel 180 degrees out of phase with the other (though it would probably be a good idea to fix
such an egregious wiring error). A “Defeat Delay” control is also provided to bypass this delay
Channel Coupling Menu
In some installations, the left and right speakers are in similar locations within the room and
relative to the monitoring point. In these situations, EQ and Delay settings can be applied to
both channels by enabling the “Common L/R EQ” and “Common L/R Delay” controls.
Doing so grays out the right channel controls in the “X-Over” and “Delay Phase” menus and
allows the left channel controls to act as a master for both left and right channel adjustments.
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Protection Limiting Menu
As previously mentioned, each Monitor Output employs limiters to keep the outputs from
distorting when large amounts of EQ are applied which is often necessary during calibration.
The “Bass Limiter Threshold” sets the point at which the bass limiters engage, especially
useful when pushing large amounts of bass through smaller speakers. The “Coupled”
control moves both the right and left controls simultaneously.
The “Limiter Threshold” sets the threshold of the final protection limiters in each Monitor
Output. They too have a “Coupled” control.
Loudness Menu
The audio monitoring tools in 9sg also include a loudness curve adjustment. These controls
(much like the “Volume-Based High Pass Filter” mentioned earlier) can compensate for monitoring systems with an uneven frequency response that varies based on the volume. There are 6
bands of control available (displayed in groups of 2) and all function identically.
The “Volume” control functions identically to the other monitor volume controls located
throughout the interface and is coupled to those controls.
The “Loudness” button enables or disables these loudness controls.
“Band x Minimum @ x dB” interacts with the “Band x Maximum @ x dB” control and
determines the point on the monitor volume control at which the gain of this band is 0 dB.
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“Band x Maximum @ x dB” interacts with the “Band x Minimum @ x dB” control and
determines the point on the monitor volume control at which the gain of this band is the
amount set by the “Band x PEQ Gain” control.
Note that this “Minimum” and “Maximum” is relative to 0 dB regardless of the sign. A
“Maximum” could be -2 dB or + 2 dB (for example) depending on whether the PEQ Gain
for that band is set to cut or boost.
“Band x PEQ Center Frequency” (as one would expect) determines the center frequency
of each EQ band. Note that each band can be set to any frequency (or the same frequency)
and they do not necessarily need to be in order by frequency. This is truly a fully parametric
“Band x PEQ Bandwidth” controls the bandwidth or “Shape” of the EQ curve for each
band. Lower numbers will create a narrower EQ curve and affect a smaller number of
frequencies near the center, while larger numbers will create a broader EQ curve and affect
a wider range of frequencies further away from the center.
“Band x PEQ Gain” controls the maximum boost or cut for each EQ band and interacts
with the “Band x Maximum @ x dB” control above.
A value for the currently applied boost or cut in each band is displayed below each set of
EQ controls.
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Left/Right EQ Menu
Following the main monitor controls (x-over, delay/phase, loudness) is another fully parametric EQ for “fixed” frequency response tuning of the monitor system, not based on the monitor
volume level. There are 12 bands of EQ available (displayed in groups of 4).
With the exception of the fact that these are fixed gain levels rather than tied to the monitor
volume control, these EQ bands function identically to the loudness EQ controls described
above (center frequency, bandwidth, gain).
If the “Common L/R EQ” setting is selected in the “Channel Coupling” menu described earlier,
the “Right EQ” settings will be greyed out and will follow the “Left EQ” settings.
When the channels are not linked, Copy/Paste controls are provided to manually copy settings
from one channel to the other.
System Settings
Monitoring and configuration of the 9sg is split into four different sub-menus under the “System” menu: ”System Status”, “Scheduling”, “GPI/O”, and “System Configuration”.
System Status
The “System Status” menu provides information related to the performance and configuration
of 9sg. This includes details about the sample rate, up time, monitor paths, CPU load, software
versions, and IP configuration.
System Information
Contains information about CPU load, available memory, up time, and software versions.
CPU Cores
Provides information on overall and per-core CPU utilization.
Network Information
This menu gives details about the unit’s LAN connection, including the IP address, MAC address, and number of NfRemote sessions that are currently connected.
Audio I/O Status
Displays information about the audio subsystem including sample rate and jitter. This is used
primarily for diagnostic purposes.
Monitor Out Status (1/2)
Provides an overview of each monitor path including the currently selected source and other
diagnostic metrics.
Current Alarms
Lists any current alarm conditions; also provides a brief “return to normal” status message when
alarms conditions have been cleared.
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The controls in the Scheduling menu allow you to program up to twenty-six day- and time-driven events including changing the local input mode (on units so equipped), triggering internal
playback, and presets in the stereo generator, local processor, and monitor outputs. Any custom
task scripts can also be executed by the scheduler.
“Events” must be disabled in order to be configured. Select the exact time and the desired days of
the week for the event to fire, then choose from the list of event options in the “Function” drop
down menu. Specific options will depend upon the selected function. Remember to re-enable
the event!
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Omnia.9sg supports the same functions listed in the “Scheduling” menu by way of eight traditional GPI inputs. Four additional GPIs can be triggered via Livewire. It also provides two hardwired GPOs and four Livewire GPOs for a variety of status or warning conditions in addition to
offering a logical GPI echo, physical GPI echo, plus half- and quarter-Hz test signals.
GPI Menu
GPI functionality is enabled or disabled in the “Main” tab. Please note that GPI must be disabled
in order to make any GPI configuration changes.
All available hard-wired GPIs (A-H) operating in the same manner. Available parameters
including any custom task scripts are available from the “Function” drop down menu.
The “Lo” and “Hi” controls work together to determine the specific action that occurs to the
parameter selected in the “Function” control.
In systems employing relay logic, a contact closure from GPI to Ground is considered “engaged”
and an open contact is “not engaged”.
If the signal is supplied by a 5V GPO, 0V is “engaged” and 5V is “not engaged”. A 3.3V signal will
also work.
By default, the “Lo” state will stay active as long as the GPI signal is applied; once removed, the
unit will return to its “Hi” state. If the “Latch” box is enabled, a momentary signal will remain
active until another GPI command affection the same function is received. The “Invert” control
provides a handy way to flip-flop the “Lo” and “Hi” states and can be especially useful for testing
the behavior without externally firing the command.
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Pin out is as follows:
+5V, 150ma
+5V, 150ma
GPI A (Active Lo)
No Connection
GPI B (Active Lo)
No Connection
GPI C (Active Lo)
No Connection
GPI D (Active Lo)
No Connection
GPI E (Active Lo)
No Connection
GPI F (Active Lo)
No Connection
GPI G (Active Lo)
No Connection
GPI H (Active Lo)
No Connection
No Connection
Status OK
GPI functionality by Livewire works in essentially the same way but without the dedicated hardwired connection. The “IP/Port” field is used to provide the IP address and GPI port of an xNode
used for remote GPI input.
GPO Menu
Available GPO functions can be selected from the “Hold Low” drop down menu and include
several critical status or alarm conditions as well as a logical GPI echo, physical GPI echo, plus
half- and quarter-Hz test signals. All GPOs will hold until the alarm situation passes and normal
status resumes. By default, “Low” is considered the alarm condition (while “High” is a normal
status) but this can be flipped by checking the “Invert” control.
For Livewire GPOs, the IP address of the Omnia.9sg should be entered into the “Channel” field
of the xNode responsible for routing the GPO signal.
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System Configuration
In the “System Configuration” menu you’ll find all of the “utility” controls that aren’t directly
related to monitoring or MPX signal generation. This includes passwords, date/time, IP configuration, software updates, configuration backup/restore, and several other things.
This one is pretty self explanatory—It allows you to change or clear the unit’s password. The
default (as mentioned earlier) is 1234. We don’t recommend that you actually clear it, though it
is certainly possible to do so.
Again, this one should be fairly self explanatory. This menu allows setting the time zone,
enabling time sync via NTP servers, or setting the clock manually. We recommend that you use
NTP if at all possible—particularly if you intend to broadcast time via RBDS.
The default settings for NTP server pools should be sufficient for most users, but you can also
enter your own list of up to 5 NTP servers if you have specific servers on your network to which
you need to synchronize.
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Allows a “clean” remote power cycle of 9sg. Normally this would only be necessary for troubleshooting purposes. Use this with caution as it WILL (obviously) take the 9sg off the air as it
reboots. If you have an external processor connected to the MPX input, the internal relay bypass
should pass signal from that audio processor through to the MPX output while the 9sg reboots.
You can also “wake up” the front panel backlight remotely from this menu.
IP Configuration
This menu allows configuration of the unit’s IP address, subnet mask, gateway, and DNS servers.
It also allows you to select configuration via DHCP. The currently assigned IP address is one of
the first items displayed in this menu.
If “Use DHCP” is selected and the unit is unable to retrieve an IP address, the unit will display a
“self configured” IP address of 169.254.x.x. This is a perfectly valid IP address, but it may indicate an issue with the unit’s network connection. Double-check your Ethernet connection and
verify that you are actually connected to the network.
To assign an IP address manually, de-select “Use DHCP” and enter the IP, Mask, Gateway, and
DNS servers as appropriate. Click “Apply” to confirm the changes.
NOTE: You WILL need to reconnect to the unit once you make changes in this menu so double-check your settings for typos before applying them! Otherwise, you may find yourself locked
out of a remotely (sometimes VERY remotely) located unit with a long, unplanned trip to the
transmitter site ahead of you to fix it.
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Outbound Connection
While the most common mechanism for connecting NfRemote to Omnia.9sg is via an INBOUND connection initiated from the remote client, in some cases (such as certain firewall
restrictions) it may be more useful for the 9sg to initiate the connection to one or more remote
This requires a bit more configuration since not only does the 9sg need to be set up to initiate
the connection(s), NfRemote needs to be configured to accept them. 9sg will support up to 3
simultaneous outbound connections.
Configuring 9sg to Initiate an Outbound Connection
In the “Outbound Conn” menu, enter the IP address and port of the remote system running
NfRemote. This could also be an external router IP address with port forwarding in some installations. Click “Connect”. 9sg will try repeatedly to connect to an instance of NfRemote at the
specified IP address and port. If connection is not successful, attempts will gradually slow down
until an “idle” rate of once every 4 minutes is reached. Once this state is reached, it may take as
long as 5 minutes for a remote NfRemote client to receive an inbound connection request.
Configuring NfRemote to Accept an Inbound Connection
In NfRemote, select “Inbound Connection”. Specify a port on which NfRemote will be listening
for connections from 9sg. While you do not have to specify an IP address, you may do so, or
use wildcards such as 192.168.200.*:7000 to accept connections from any 9sg on the specified
network at that port.
Typically, however, you would not want multiple units attempting to connect to the same NfRemote client on the same port.
The port MUST be specified and hostnames are NOT supported. Enter the password configured
on the remote 9sg. Click “Add” to add this connection to the list, then click “Connect” to begin
waiting for a connection. If all has been configured correctly, NfRemote should detect the connection attempt and display the remote interface for 9sg.
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HTTP Access
In addition to access via NfRemote, the 9sg has an extensive http remote control interface built
in. It is not necessary to configure these settings if you do not plan to use the http interface.
This menu ONLY controls access via the remote http interface and does NOT restrict access via
This interface allows access to nearly every single parameter available through NfRemote, and
is useful for monitoring and control by automation or other external systems. The NfRemote
client software can also be downloaded via this interface.
This interface can only be accessed by systems and networks specified in the “HTTP Access” menu. Up to 8 individual hosts or networks can be allowed access in the format of IP
address, IP address and network mask, or IP address with wildcard (i.e.,, or 192.168.200.*). There is no username or password challenge on the http interface, so ensure that only the hosts and networks that need access are listed
Software Update
The “Software Update” menu displays the current 9sg software (and NfRemote client) version
as well as the versions associated with several internal 9sg components.
Click “Upload Software” to upload a new version to 9sg, or click “Reinstall x.x.x” to reinstall the
currently loaded software version on 9sg. This would normally only be done for troubleshooting
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This menu allows a full backup and restore of the 9sg configuration. Although an update will
normally not affect the unit’s configuration, it is a good idea to backup your configuration prior
to performing a software update.
Click “Backup (Download) configuration” to retrieve a copy of the current configuration from
the unit. Click “Restore (Upload) Configuration” to upload a previously downloaded configuration. The configuration files are stored in ZIP format and do not need to be unzipped prior to
When restoring a configuration file, you have the option of either retaining the existing IP
address and password, OR restoring these parameters from the uploaded configuration file.
Typically, both would be left at “Retain” to prevent losing access to the unit, though if you have
a corporate password or IP addressing scheme stored with the configuration files, it may make
sense to select “Override” instead.
The SNMP menu provides the means to enter the information necessary to facilitate communication between Omnia.9sg and your SNMP manager. It supports SNMP V1 and V2c.
Disable SNMP in order to enter information. The “Communities” and “Trap Sink” fields accept
community names and the IP addresses or names of the trap receiver. The e-mail address of the
designated contact for alerts should be entered into the “Contact” field.
Information entered in the “Location” field appears on the front panel display and on remote
connections and makes it possible to quickly identify which particular unit you are viewing,
especially convenient if you are managing more than one site using Omnia.9sg.
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The Omnia.9sg MIB file is available via the built-in HTTP server on the SNMP Test Page
which can be accessed from any white-listed computer on the network. Enter the IP address of
Omnia.9sg followed by the port number and “/SNMP” as follows, substituting your IP address:”.
A test mode has also been included to help with setup and verify proper SNMP configuration
and communications.
Please note that when in test mode, no auto-generated SNMP traps will be sent and any GETs
will return the test value, not the actual value.
Remember to enable SNMP when configuration is complete.
If you have upgraded 9sg with RDS after purchase (or any other future options that may be
released), the license key that you receive would be applied here. The MAC address is also
provided in this menu. The factory will need the unit’s MAC address in order to generate a
license key for any upgrades.
Client Audio
Arguably one of the most powerful features of 9sg is the ability to stream lossless audio (bandwidth permitting) from various patch points within 9sg directly through the NfRemote client.
While it may not always be practical to establish a calibrated “reference” monitoring position
directly at the location where 9sg is installed, this feature allows you to perform very accurate
and detailed audio monitoring remotely. This would even include sources connected to the
unit’s external MPX inputs such as a remotely located tuner or backup audio processor.
The “Client Audio” menu is divided into four submenus, each with their own set of parameters…”Client Audio Out”, “Client Mic Input”, “Client File Recorder”, and “Client IP Options”.
Client Audio Out
This menu allows control of audio output from the NfRemote client, including the patch point,
and various monitoring calibration controls. The additional submenus in this section are identical to those in the “Monitor Outputs” section.
“Patch Point” Menu
To enable client audio output, click the “power button” icon in this menu. A selectable Sample
Rate Converter (SRC) ensures that the audio remains stable, though when enabled this feature
consumes additional CPU resources.
All available audio devices on the system for client audio output will be enumerated in the
dropdown list next to the SRC control. Click the “reload” icon to update this list.
Client volume and buffer length are both adjustable as well. If you are experiencing audio
dropouts, increase the “Audio Buffer” setting. This buffer can hold up to 10 seconds of audio to
accommodate even the most hostile network conditions.
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The patch points available for selection in this menu are identical to those described earlier
in the “Monitor Outputs” section of the manual. The only exceptions are the addition of the
“Client Mic Input” and the addition of the monitor outputs themselves. The “Monitor Out”
menu has patch points for the headphone, speaker, and aux monitoring paths. Each monitoring
path provides three selections to feed client audio…input source, pre-calibration (xo), and
post-calibration (output).
Controls are also provided for loading and saving client audio output monitor calibration
Client Mic Input
The Client Microphone Input Menu allows you to pick which microphone you’d like to use, a
parametric equalizer to create custom EQ curves for individual mics, and the ability to save and
recall custom mic presets.
Input Device
Allows selection of the device or input that will feed the NfRemote client when performing
monitor calibration. Click “Refresh List” to update the list of devices.
Load/Save Preset
These menus allow you to save custom calibration profiles for measurement microphones and
function identically to the Load/Save menus described elsewhere in this manual.
These controls bypass the microphone calibration EQ and adjust gain when bypassed or engaged.
A 12-band parametric EQ is provided for the client microphone input. This can be used to
compensate for the response curve of the measurement microphone and functions identically to
the EQ section described in the “Monitor Outputs” menu.
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Client File Recorder
In addition to the streaming client audio, NfRemote also features a “Client File Recorder” function which allows recording audio from up to three different patch points within the unit simultaneously. The recordings will be stored on the machine running NfRemote at the specified
folder path with the specified filename(s). Depending on network bandwidth, these recordings
will either be a lossless PCM (Nicam) or Vorbis source and stored as lossless FLAC files. Files
can be split with various durations, and recording can be triggered by presence of audio (VOX).
Client IP Options
This menu provides information about the host running NfRemote, and allows establishing an
“Outbound Connection” (described earlier) from one instance of NfRemote to another specifically for client audio.
Frequently Asked Questions
What is this thing and what exactly does it do again?
The 9sg is a great companion to any other existing audio processor where you need to “split” the
main audio processing from the final limiter/clipper and stereo generator section. This would
include cases where you want to use a single audio processor at the studios to feed multiple
remote sites, while still maintaining the highest quality audio possible with minimum loss of
loudness. In short, it’s the same excellent stereo generator that we included in Omnia.9 (and a
bunch of the other cool tools) with a final clipper section that improves upon the already excellent one in Omnia.9. We didn’t even think that was possible.
Beyond this flexibility and stellar audio performance, Omnia.9sg also provides internal playback
capability with built-in processing should you lose your primary or secondary audio feed(s).
Optionally, it can also accept and process locally inserted audio to provide location-specific
I don’t have an Omnia.9—Can 9sg still benefit me?
ABSOLUTELY! ANY audio processor could potentially benefit from the improved final clipper
included with 9sg. With Omnia.9 you would feed the “Pre-Final” patch point (pre-final limiter/
clipper) into 9sg. This patchpoint is the ideal location for feeding the pre-emphasis and clipper
in 9sg. With other audio processors you could still use an “HD” or “Digital” output (adjusted for
little or no final limiting) and achieve a good end result. You could also use other outputs such as
an FM output with no pre-emphasis (again, adjusted for minimum limiting/clipping) though
the 15 kHz low-pass filtering typically present on such an output would result in less than ideal
results since 9sg actually does its low-pass filtering at 16.5 kHz by default, resulting in better
high-frequency response.
What about RDS?
Yup. 9sg has an integrated RDS generator which can be enabled in the field via an optional license key if not purchased with the unit. This RDS generator supports UECP and dynamic RDS,
as well as full control and updates from external automation systems via the 9sg http interface.
CHAPTER 7 | 78
What else have I won, Bob?
Congratulations! Your new 9sg also includes full remote control and MPX analysis via NfRemote from anywhere you have an Internet connection! Monitor your entire MPX signal (or your
competitor’s with an external tuner) via the integrated test instrumentation (FFT, modulation
analysis, loudness metering, oscilloscope, RTA). Not only can you LOOK at signals, you can also
HEAR them via remote Client Audio!
So I’ve read through this entire manual and I STILL have questions. Now what?
We realize reading manuals isn’t exactly thrilling—and hopefully this one covered most of the
high points—but if you want to talk to one of our helpful support techs about your new 9sg, feel
free to e-mail or call +1-216-241-7225.
Frequency Response
+/-0.5dB 20Hz to 16.5 kHz
Signal to Noise Ratio
Greater than -80dBu de-emphasized, 20Hz to 15kHz
Stereo Separation
65dB minimum, 20Hz to 15kHz, 70dB typical
Digital Output Level
Adjustable from -24.0dBFS to 0.0dBFS in 0.1dB increments
Stereo Baseband Output
Adjustable from -2dBU to +22dBU (0.1dB increments) into 600-Ohms, 20-Ohm output impedance
Analog I/O
Two balanced, EMI filtered XLR connectors
Composite I/O
Four 75-Ohm BNC female, two inputs, two outputs
Digital I/O
AES/EBU via XLR connector and external sync via BNC
Remote Control
RJ45 supporting 1000 BASE-T Ethernet connections
CHAPTER 8 | 80
Power Requirements
100-264 VAC, 47-63Hz autosensing, dual PSU
Power Connector
Dual IEC male, detachable 3-wire power cords supplied
Power Supply
Internal dual redundant
Operating: 0 to 50 degrees C
Non-operating: –20 to 70 degrees C.
North America: FCC and CE tested and compliant, power supply is UL approved.
Europe: Complies with the European Union Directive 2002/95/EC on the restriction of the use
of certain hazardous substances in electrical and electronic equipment (RoHS), as amended by
Commission Decisions 2005/618/EC, 2005/717/ EC, 2005/747/EC (RoHS Directive), and
Telos Alliance Warranty
Telos Alliance Limited Warranty
Telos Alliance Radio Division has an industry-leading five-year warranty.
As a company, we are commited to our products and the pursuit of providing
better quality to our customers.
Find the Warranty online at
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1241 Superior Ave. • Cleveland, Ohio, 44114, USA • + •
© 2017 TLS Corp., All Rights Reserved. O17/4/15019 P/N: 1490-00125-001 --- USER MANUAL: OMNIA.9 SG
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