Omnia.11HD Digital Multi-band Broadcast Processor
Omnia.11HD Digital Multi-band Broadcast Processor
121.375,00 DKK (97.100,00 DKK)
Du sparer 5,01% Førpris: 127.781,25 DKK (102.225,00 DKK)

Omnia.11HD Digital Multi-band Broadcast Processor

FM + HD broadcast audio processor. Den prisvindende no. 1 broadcastprocessor på markedet!
Omnia 11 FM + HD broadcast audio processor. Featuring dual, independently controlled processing paths for FM and HD/DRM.

From the very beginning, the developers of the Omnia.11 were determined to create a processor which would stand head and shoulders above the legendary Omnia 06.

Intelligent wideband AGC, refined dynamically flat & time aligned crossovers, dual topology multiband AGC/Compressor-Limiters using Chameleon Processing Technology, Density Detector for handling hyper-compressed content, Ultra-LoIMD multiband limiter system with smart gain-reduction technology, Bass-Management system for unprecedented bass power with no nasty side-effects, Ultra LoIMD Distortion controlled clipper system reduces IM distortion in this critical stage of the processing, Refined Integrated laboratory-grade stereo generator with dual composite MPX outputs, 19 kHz Reference output, SCA input, >80 dB pilot protection and precision MPX LPF to protect RDS/RBDS and SCA signals, ITU-BS-412 MPX limiter, Refined parallel HD processing Path (HD version only) with its own final mixer, look-ahead limiter and SensusT technology for HD-1, DAB or Internet stream. Analog, AES/EBU digital (with external sync input) and Livewire Audio I/O, Front Panel 10.5" full-color touch-screen GUI. Full remote control With built-in webpage interface via Ethernet port or on-board Wi-Fi, Headphone Jack with soft "patch points" for listening through the processing chain, Diversity-Delay up to 20 seconds with ramp-in and ramp-out ability, fanless cooling design built into a rugged 4 RU chassis.

Everything from the firmware platform, the GUI, to every algorithm was re-thought, and in most cases completely re-engineered or re-designed. The result is unlike any existing product of its kind to date. Omnia.11 has literally defined the new state-of-the-art for FM audio processing, as evidenced by a trifecta of awards from the three leading industry publications: 2010 Cool Stuff Award from Radio World Magazine; 2010 Pick Hit from Radio Magazine; 2010 TechInk Award for Innovation by Radio Ink Magazine.

For the first time, listeners will hear the programming, not the processor. Effortlessly loud. Thunderous bottom end, sparkling highs, and crisp, clear voice reproduction. All with that trademark punch and clarity which made Omnia the required audio processor of the highest-rated radio stations in the world.

So dramatic is the advancement of Omnia.11, that initial tests have revealed that many early adopters were genuinely startled by the lack of a traditional "processor sound" when the unit was first deployed. The low level distortion and artifacts, long accepted as part of the fundamentals of processing, are now almost completely gone and certainly not perceptible to the ear.

The firmware in Omnia.11 takes advantage of software capabilities never before possible. The results are dynamics algorithms that were once only a dream of the processing enthusiast. AGCs, Compressors, and Limiters analyze music in real time and adjust internal parameters for optimum performance across a broad range of material.

Available in two models:

Omnia FMHD: Featuring dual, independently controlled processing paths for FM and HD/DRM

Omnia FM: Without HD/DRM capability, but can be upgraded to FMHD at a later date.

Chameleon Processing Technology
A major part of this technology, the new Density Detector, enables Omnia.11 to properly handle hyper compressed content. The AGC system cannot be fooled due to heavy density, or by older source material which contains high peak-to-average levels. The density-detector keeps Omnia.11 operating on-target, at all times.

Ultra- Multiband Limiter System
Traditional limiting technology has often resulted in various forms of audio corruption. Omnia.11's new LoIMD technology coupled with smart gain reduction algorithms, now have limiters which sound amazingly transparent.

All AGC and limiting algorithms employ an auto acceleration/deceleration mechanism, which tunes out perceptible intermodulation distortion. The attack/release functions adjust themselves based upon content density. This breakthrough method literally analyzes the audio content in both the amplitude and frequency domain, then adapts the timing networks - on the fly - to transparently control the signal, without the control being heard. The result is revealed in added detail, clarity, and quality, yet maintaining the desired competitive loudness level.

Special attention was paid to the behavior of live voice quality. The improved performance of the AGC and limiter functions generate live voice clarity and impact far beyond that which was previously possible.

Bass Management
The bass enhancement algorithm is a key feature of the Omnia.11. Low end is now broadcast with recording studio-like punch and impact, with no traditional side-effects whatsoever.

Omnia.11's exclusive bass-management method is a mixture of innovation, as well as a rearrangement of the system topology. Achieving great sounding bass requires the most effort, partly due to the fact that the bass spectrum has the most number of harmonics, and all of these must be kept properly accounted for in the time domain. Also, any additional spectra created (enhancement) must have its harmonic content managed, or the bass region begins to sound distorted and unnatural. This process requires much more than just traditional EQ, bass clipping/filtering, or any ordinary attempt at bass enhancement. Even the location where the function is inserted matters, as well as how it maintains its frequency range along with the rest of the system. An entire dissertation could be done on the bass enhancement/management system alone. The classic Omnia dynamically flat & time aligned crossover system has been further refined to produce smooth, rich, and full tonality. The AGC and limiter sections cannot be fooled into false gain control due to spectral density (or lack thereof) from the crossover network.

New Ultra LoIMD Distortion Controlled Clipper System
Audio processing for conventional broadcast (FM and AM) has, in some applications, reached extreme levels. Various methods are available today capable of creating LOUD competitive signals, but at the expense of perceptible quality. Through critical listening, extensive research, and evaluation of processing methods, it has been determined the single most annoying quotient is due to intermodulation distortion (IMD) induced by aggressive functions within the processing system. The algorithms are pushed to the limits, and beyond. One of the most crucial, aggressively used algorithms in the FM processor is the pre-emphasized final limiter/clipper. Omnia Engineering has developed the new Ultra LoIMD Distortion controlled clipper system specifically to reduce IMD in this critical stage of the processing. An explanation of the new Ultra LoIMD clipper system follows shortly.

For those who feel the need to use it, there's also a composite clipper embedded in the stereo generator. However, to date, all of our testing has been done without any composite clipping. Pilot protection is on the order of magnitude close to 90 dB, which is considerably more protection than necessary for even the best FM receiver. Integrated laboratory-grade stereo generator with dual MPX outputs, 19 kHz reference output for external RDS/RBDS systems and pilot protection that provides >80 dB pilot protection - with or without composite clipping. MPX spectral low-pass filter to protect RDS/RBDS and SCA signals if composite clipping is employed. Multiple ways to adjust the system to achieve the exact sound you're looking for. An installation wizard will guide anyone through a simple step-by-step setup to on-air operation. Using the answers to a series of simple questions, Omnia.11 adapts itself, based upon the answers, to craft a preset which delivers the desired end result quickly for an effortless out of the box experience.

In Addition
A front panel touch screen GUI, on a 10.5" diagonal screen, provides ease of use and enhanced metering and diagnostics. Remote access is via any web browser, as well as a local onboard WI-FI connection. Laptops to iPads will have access.

Livewire, AES/EBU digital and analog I/O is standard. Headphone soft "patch points" are available for listening through the processing chain.


Fanless cooling design built into a rugged 4 RU chassis.

Ultra LoIMD Clipper System Explained
Audio processing for conventional broadcast (FM and AM) has reached extreme levels. Various methods are available today capable of creating LOUD competitive signals, but at the expense of perceptible quality. What causes this, and what can be done to retain audio integrity in the face of competitive pressure?

Adding to the dilemma is the music industry adopting the same traditional radio mind set. Recordings which are so heavily processed, that they sound as if they're on-the-air, before being on-the-air. To say we live in a dynamically processed world is an understatement.

Being loud is not the problem. The problem is the unfriendly annoying artifacts generated by the common processing practices used by broadcasters and the music industry. The combination of hyper-compressed content and aggressive on-air processing results in not only audio which lacks definition and quality, but audio which contains annoying side effects. The challenge for Team Omnia was to retain quality and definition, yet retain the competitive loudness level that many broadcasters demand.

Modern music mastering practices generate content that is noticeably rich in deep bass, presence, and treble. When processed aggressively, especially for FM-Stereo, the resulting audio appears synthetic in tonality and quality. Treble frequencies appear overly bright, and sometimes harsh, even with additional application of dynamic high frequency processing. Bass sounds tight and defined, but depending upon the processor's spectral limiting system, it can also sound distorted.

Listening to current music, with aggressive processing, produces a distinct annoyance: the appearance of a sizzling or frying sound to midrange, presence, and treble spectra. This was noticeable on all the processors used for evaluation. Reducing the final limiting, or clipping, helped ease the pain. This indicated that the problem is harmonic, related to the clipping process. Significant reduction of clipping removed the annoyance, but the loss of loudness was on the order of 6 dB or more. Not suitable for the needs of competitive audio.

Was this the common issue of too much bass forcing the rest of the spectrum into the limiter? This is known as bass induced intermod. At first, it would seem so, but the test segments did not have any bass content, and the frying was still present. Was it in the original source, and the processor was magnifying it via multiband dynamics control? Careful evaluation of the source audio revealed the answer to be no. Something else, apparently.

By example, this is easily heard in the song "Because Of You" by Kelly Clarkson. The opening of the selection is a piano solo, and the vocalist begins to hum along with the piano, a few seconds later. Present day audio processors, set up aggressively, cause the humming in the vocal to sound as if bacon is being fried. This was a high rotation song on CHR (Contemporary Hit Radio) formatted radio stations. Since most of those require aggressive processing, this test case replicates the real world. This example is just one of many which illustrate the challenges in current processing technique.

Since the aforementioned bacon frying annoyance was affected by the action of the clipping function, a probe into that algorithm was in order. Most final limiting/clipping systems in modern audio processors employ some form of proprietary means to control perceived distortion. The methods for these vary. While open for subjective discussion, the end result is still the same: absolute peak control is performed and a minimal level of harmonic distortion is acceptable within a specified operating range. Basically, some form of masking method is used to hide the most annoying clipping side effects from the ear. Although, it appears now, we've pushed these methods to the point where modern recordings generate distortion annoyances when aggressive processing is used.

For the processing novice, a clipper - by design - will generate harmonics of the fundamental audio frequency. Using a sine wave for an example, if the upper and lower peaks of the waveform are chopped off (clipped), harmonics are born out of the clippings and show up within the spectrum space as harmonic multiples of the original frequency. An example frequency of 1 kHz, with 3 dB of clipping generates odd-order harmonics at 3kHz, 5 kHz, 7 kHz, etc, out to infinity. Figures 1 - 2 illustrate examples of this.Dokument(er)
Omnia.11-Brochure.pdf (2,04 mb)
Prod. varenr.:
15000 gr.


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