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Studio Pro Style
Purpose
The Omnia ONE
Studio Pro was created for use in studio applications that do
not require low-pass (high-
cut)
filtering or pre-emphasis, do not necessarily require precisely controlled peak output levels but may require
minimizing the time delay through the unit (delay throughput).
The Omnia ONE
Studio Pro is best suited for audio applications that require processing to control overall levels
with minimum delay throughput, minimum processing artifacts, minimum distortion and maximum fidelity.
Some examples of such applications would be headphone feeds, pre-delay feeds, TV/video studio/remote pre-
processing etc. The Omnia ONE
Studio Pro is ideal wherever full
-fidelity multi-band processing is needed along
with minimum delay.
Delay Throughput
The two sections of the processing that cause the most delay are the “Bass Boost” enhancers (2.1 ms) and the Final
Limiter (2.7 ms). These sections can both be bypassed, if desired, to minimize the delay time of the audi
o through
the unit.
With both of these sections bypassed, the delay through the unit will be only about 2.8 ms when using the digital
AES/EBU input & output. and about 4.3 ms when using the analog inputs & outputs. There is an additional delay of
about 1.
5 ms when using the analog inputs & outputs (for a total of about 4.3 ms) due to the delay through the A to
D and D to A converters.
With both of these sections engaged the delay through the unit will be about 7.6 ms using the digital I/O and 9.1 ms
using the analog I/O.
Equalization (EQ) Changes
Tailoring the shape of the overall audio spectrum can be done in four different ways:
Adjusting the
Drive
to the individual bands from within the
XOver
menu, which sets the input
(drive) levels to the multi
-band AGC sections.
Changing the relative amount of
Drive
to the individual multi-band limiters.
Adjusting one or more bands to have faster release times than the others.
Adjusting the settings within the
Mixer
.
All four options will provide a noticeable change in EQ and each will have a different character. We suggest you use
the first two listed options before trying others. In each case the EQ change you make is followed by a
dynamically
controlled stage, so the subsequent AGC or Limiter will counter any excessive EQ adjustments.
The last option, adjusting the
Mixer
, is designed to provide a final
minor
trim to the audio spectrum. Since this stage
is
after
all of the dynamic multi-
band AGC and Peak Limiting, a radical change in level in the
Mixer
could result in
excessive output level leading to clipping or, if the final look-ahead limiter is being used, too much final limiting in
that band’s frequency range. We suggest that any changes implemented here be limited to about 0.5 dB to 0.7 dB of
boost maximum. Alternately, a decrease in mix levels can be done in any desired amount and without fear of final
limiter overdrive.
