Omnia 7AM User manual

OMNIA.7AM
USER’S MANUAL
p/n: 1490-00151-001
For part numbers: 2001-00455, 2001-00461, 2001-00460,
2001-00427 Omnia.7AM Software Version 3.15.70 | May 2016

Notices and Cautions
CAUTION:
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 autoranging 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 shock.
This symbol, wherever it appears, alerts you to important operating and
maintenance instructions. Read the manual.
CAUTION: DOUBLE POLE/NEUTRAL FUSING
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.
WARNING:
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 incorpo-
rated 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.

WARNUNG:
Die Installations-und Serviceanleitung in diesem Handbuch ist für die Benutzung durch qualifiziertes Fachperson-
al. Um Stromschläge zu vermeiden führen Sie keine andere Wartung durch als in dieser Betriebsanleitung aufge-
führt, 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.
ACHTUNG: ZWEIPOLIGE ABSICHERUNG / NULLEITER ABSICHERUNG
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.
WARNUNG:
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-Auf-
bau 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
könnten.
Wird das Gerät anders als in der, vom Hersteller angegebenen Weise verwendet, kann der, durch das Gerät
gegebene Schutz beeinträchtigt werden.

USA CLASS A COMPUTING DEVICE INFORMATIONTO USER. WARNING:
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 protec-
tion 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.
CANADA WARNING:
“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 appa-
reils numériques (de class a) prescrites dans le règlement sur le brouillage radioélectrique édicté par le ministère
des communications du Canada.”
CE CONFORMANCE INFORMATION:
This device complies with the requirements of the EEC council directives:
♦93/68/EEC (CE MARKING)
♦73/23/EEC (SAFETY – LOW VOLTAGE DIRECTIVE)
♦89/336/EEC (ELECTROMAGNETIC COMPATIBILITY)
Conformity is declared to those standards: EN50081-1, EN50082-1.

OMNIA.7AM MANUAL
© 2014-2016 TLS Corp. Published by Omnia Audio/TLS Corp. All rights reserved.
TRADEMARKS
Omnia Audio, the Omnia logo and Omnia.7AM are trademarks of TLS Corp. All other trademarks are the property
of their respective holders.
NOTICE
All versions, claims of compatibility, trademarks, etc. of hardware and software products not made by Omnia
Audio which are mentioned in this manual or accompanying material are informational only. Omnia 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.
WARRANTY
This product is covered by a five year limited warranty, the full text of which is included in this manual.
UPDATES
The operation of Omnia.7AM is determined largely by software. We routinely release new versions to add features
and fix bugs. Check the Omnia Audio web site for the latest. We encourage you to sign-up for the email notification
service offered on the site.
FEEDBACK
We welcome feedback on any aspect of Omnia.7AM, 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.
SERVICE
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
[phone]. All other customers should contact local representative to make arrangements for service.

WE SUPPORT YOU...
BY PHONE / FAX:
♦You may reach our 24/7 Support team anytime around the clock by calling [phone].
♦For billing questions or other non-emergency technical questions, call [phone] between 9:30
am to 6:00 PM, USA Eastern time, Monday through Friday.
♦Our Fax number is [phone].
BY E-MAIL:
♦Technical support is available at [e-mail].
♦All other questions, please email [e-mail].
VIA WORLD WIDE WEB:
The Omnia Audio web site has a variety of information which may be useful for product selection and support.
The url is www.Telosalliance.com.
REGISTER YOUR PRODUCT
Did you know that all Telos Alliance products come with a 5-Year Warranty? Take a moment to activate your
coverage online at http://telosalliance.com/product-registration/ .
OMNIA AUDIO
1241 Superior Avenue E.
Cleveland, OH., 44114 USA
[phone] (phone)
[phone] (fax)
[phone] (24/7 technical support)
[e-mail]
[e-mail]

VII | Table of Contents
Intro A Letter from our CEO, Frank Foti VIII
Intro Getting the Most from this Manual IX
1The Omnia.7 Story 1
2Quick Startup Guide 3
3General Processing Advice 7
4Home Screen & User Interface 9
5NfRemote Client Software 11
6Reading the Meters 23
7Home Menu 25
8Input > Source Audio Menu 27
9Input > Undo Menu 29
10 AM Menu 36
11 Display & Meter Options 60
12 Studio Processing Menu 72
13 HD Processing Menu 73
14 Streaming Menu 74
15 Monitor Output Menu 86
16 System Menu 95
17 Getting the Sound You Want 120
18 Frequently Asked Questions (FAQ) 123
19 Specications & Warranty 126

VIII | A Letter from our CEO, Frank Foti
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 arsenal.
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 world.
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!
Sincerely,
Frank Foti
CEO, The Telos Alliance

IX | Getting the Most from this Manual
Getting the Most from this Manual
Let’s be honest about a few things right up front:
♦Omnia.7 offers a lot of power and flexibility, characteristics that inherently bring a degree of complexity
along for the ride.
♦Its menu and control architecture is logical, but also broad and deep, so we’ve organized the chapters and
their contents in a manner that duplicates the menu structure of the front panel from the big picture (the
Home Screen) down to every individual control.
♦This is not a short manual.
♦Your time is valuable and limited.
While we’d love for everyone to read this enthralling literary masterpiece cover-to-cover and fully understand all of
what Omnia.7 can do, that’s just not practical for the majority of users.
Most of you would like to rack it up, plug it in, find a suitable preset for your taste and market, maybe tweak it up
a bit, and then try to eat lunch before the really important stuff lands on your desk. Like the virus-plagued laptop
from that sales guy (again). Or the wireless mic that the intern backed over with the promotions van (again). Or
the urinal that won’t stop running. You know, the real reasons you got into broadcasting.
With that in mind, here’s what we suggest:
♦When you’re done here, go to Chapter 2, the Quick Startup Guide. This is bare bones stuff including
physical I/O, routing the audio within Omnia.7, setting levels, and picking a preset.
♦Read Chapter 18, the FAQ section. Most users have the same or similar questions. We’ve attempted to
answer those here.
♦Read Chapter 3, General Processing Advice, especially if you don’t consider yourself to be a processing
expert. It’s a short chapter but has non-technical, non-product-specific tips that will serve as a good
foundation as you adjust your sound. This is also good reading for your Program Director, General
Manager, or anyone else who may have a say in the overall sound of the station. We encourage you to
share it with them.
♦Read Chapters 4 and 6 - they’ll get you familiar with using the controls and reading the meters.
♦Glance through Chapter 16, the System menu, or just poke around the System menu on the front panel
just to get an idea of what’s there. These tend to be high-level, global, set-and-forget items.

CHAPTER 1 | 1
THE OMNIA.7 STORY
1 The Omnia.7 Story
How Omnia.7 Came to Be
As of the this writing, Omnia.9 by Leif Claesson - Omnia.7’s “big brother” - has been on the air re-defining the
sound of FM radio around the world for nearly five years now.
During that time, we’ve learned that broadcasters really do appreciate the “clean and clear” philosophy that defines
Omnia.9 but not everyone has the need (or the budget) for a top-of-the-line audio processor that packs in the
amount of features and flexibility Omnia.9 does. This is especially true in mid-sized and smaller radio markets.
We felt it was time to build a processor that brought the most important sonic characteristics of Omnia.9 - includ-
ing “Undo” (with its de-clipper and multiband expander) and and its psychoacoustic distortion-masking clipper
- but in a simplified, more purpose-built processor, and without a few of the premium features offered in Omnia.9.
The result was Omnia.7 for FM.
AM processing was first added to the Omnia.9 as an option. That option is exactly what is provided here in a
dedicated, top-performing AM processor; the Omnia.7 AM!
Processing for AM, HD, Streaming, and Studio
Omnia.7 offers completely separate processing cores for AM, (optional) HD and Streaming, and features a
dedicated low-latency studio core for talent monitoring.
Each processing core contains and Input AGC, a 4-band fully parametric equalizer, multiband noise reduction,
multiband stereo enhancement, an Input AGC, two wideband AGC’s (selectable), and up to 5 bands of multiband
AGC and peak limiting.
Omnia.7 also introduces the concept of “Basic”, “Intermediate”, and “Advanced” controls, making it friendlier and
less intimidating to use for those who are not audio processing experts while still providing access to all controls for
expert users who want to really dig in and fine tune their sound.
The Omnia.7 Toolbox
Omnia.9 introduced the unique concept of a diagnostic “toolbox” and provided a built-in digital oscilloscope, an
RTA, and an FFT spectrum analyzer that can monitor dozens of different points within each of its processing cores.
Omnia.7 retains all of those same tools including a pink noise generator and a powerful parametric equalizer so
that you can calibrate your reference speakers, giving you an accurate monitoring point from which to adjust your
processing.
These features allow you to “see what you are hearing” and make informed, intelligent adjustments to your audio
that were heretofore difficult if not impossible to make.

CHAPTER 1 | 2
THE OMNIA.7 STORY
There’s Still Lots of Power
Despite its mid-level positioning in the Omnia product lineup, Omnia.7 still provides more control and power than
you may be accustomed to.
Giving you full access to all of its controls is like giving you the keys to an exotic sports car. If you know what you’re
doing, you’re in for quite a ride! And if you don’t, well, let’s just say there are lots of ways to get yourself loose in the
corners and end up in the weeds. But for all of its capabilities, Omnia.7 is not difficult to set up and use, especially in
“Basic” mode.
We’ve given you some great presets based on those found in Omnia.9, created and tuned by people who know the
product best, that will either satisfy your on-air processing goals right out of the box or will get you close enough
to your desired sound so that you can make some tweaks to suit your individual needs and tastes for your format in
your market.
That said, we highly recommend that you set aside some time up front to understand the various design philos-
ophies and controls that make Omnia.7 so unique, versatile, and powerful. The time you spend now will pay off
exponentially on-air, make your program director smile and sleep better at night, and keep the rest of the stations
in the market wondering what kind of freaky magic you’re up to.
If you send us cash, expensive gifts, or can make the Cleveland Browns win a Superbowl, we promise not to tell
them.

CHAPTER 2 | 3
QUICK STARTUP GUIDE
2 Quick Start Setup Guide
We know that you’re probably in a hurry to get your new Omnia.7 installed and on the air. If you have technical
expertise and previous knowledge of audio processor fundamentals, this Quick-Start Setup Guide will get you up
and running as quickly as possible.
It is important to remember that because some features in Omnia.7 are optional, not everything referenced in this
guide or in the full product manual may be available in your particular unit. Therefore, some screenshots may differ
slightly in appearance.
While Omnia.7 is a svelte 2RU product, we still suggest having an assistant on hand when racking it up to help
balance the unit during installation. We don’t want to see your new processor accidentally land on the floor nor do
we want to live with the guilt of knowing you spent time in the chiropractor’s office because of something we built.
(If you’re going to end up there, make it because of something more fun than racking up gear). We also strongly
recommend using all 4 rack screws for the best support. Finally, although the unit is fan cooled, leaving an empty
rack space directly above and below the unit is still good practice for both Omnia.7 and the equipment directly
above and below it.
Physical Installation and Initial Conguration
Connect AC power to both of the internal power supplies. Don’t plug it in while standing in a bathtub (the things
our lawyers make us say). There is no power switch.
It is always possible for a supply to fail and so having redundant supplies does help protect you against losing power
altogether in that event, but in reality, it is far more likely that the unit will lose power because of an interruption to
the circuit feeding the unit. Therefore, good engineering practice dictates that each supply should be fed from a
different source. At minimum, we recommend that both sources 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 circuit for maximum redundancy.
Next, connect the audio inputs as appropriate for your installation. Omnia.7 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.

CHAPTER 2 | 4
QUICK STARTUP GUIDE
Note:
An important word about AES reference and sample rates!
Omnia.7 oers several clock sync/reference options:
The main AES XLR inputs can accept audio with a reference of either 44.1kHz (for HD Radio) or
48kHz (for DAB). To set the sample rate, navigate to the System > System Conguration > Sample
Rate menu and set the unit’s sample rate to match that of the incoming signal and the Sync
Reference control to “Main Input.”
If the incoming AES audio has a dierent sample rate between 32kHz and 96kHz, it can be up- or
down-sampled to either 44.1 or 48kHz by setting the Sync Reference control to “Reference Input.”
The unit’s sample rate must be selected in the Sample Rate menu.
Finally, 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 (such as an
HD exporter at the transmitter site). Set the Sync Reference to “Reference Input”. The unit’s sample
rate must be selected in the Sample Rate menu. A BNC-to-XLR cable or adapter (Pin 2 hot, Pin 3
shield) may be used for short runs without concern. For longer runs, a transformer should be used
as needed.
Front Panel Controls and Navigation
Unlike other products in the Omnia family, Omnia.7 uses a “joystick” type of rotary encoder for menu navigation
and control adjustment. “Rocking” the control left, right, up or down facilitates navigation through the various
menus. It may be helpful to think of these as being like the 4 “arrow” keys on a PC keyboard. Turning the knob
clockwise or counterclockwise adjusts individual controls.
For more information, see Chapter 4 starting on Page 9. We strongly suggest and recommend using the free
NfRemote control PC software after the initial configuration. Full details can be found in Chapter 5 starting on
Page 11 of this manual.
The factory default password is “1234”. Navigate to the “Password” field then move the joystick to the right to
bring up the on-screen keyboard. When the keyboard is displayed, turning the control clockwise or counter-
clockwise moves the cursor around the screen while rocking it to the right enters the highlighted value. Once the
password is entered, highlight and enter “OK”. Next, highlight and enter “Unlock” to unlock the unit.
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.
Setting the Network Parameters
The System > System Config > IP Configuration menu allows you to choose whether Omnia.7 receives its IP
address from a DHCP server (the default setting) or is manually assigned a static address.
♦The Use DHCP button allows your local router to assign an IP address to the unit.
♦If Use DCHP is not selected, the fields for entering IP Address, Subnet Mask, Gateway, and DNS informa-
tion become active.
♦Selecting Apply puts any changes you have made to these parameters into effect after a few seconds.
For full information about getting the NfRemote app up & running, see Chapter 5 starting on Page 11.

CHAPTER 2 | 5
QUICK STARTUP GUIDE
Select the Input Audio Source
Navigate to the System > I/O Options > Input menu and select the proper source (analog or digital) for the
primary and/or backup inputs.
Adjust Input Audio
Note that the Omnia.7 AM audio is blended to mono after the input stage so the processing is always fed in mono.
From the Home menu, navigate to the System > I/O Options > Source Adjustment menu. Use the Input Gain slider
to set the input levels. When driving the input with typical program material at normal operating levels, adjust the
input gain while watching the Input meters in the Processing display window so that average levels keep the meters
in the green. If the meters flash red, the input is being overdriven and levels to the Omnia.7 must be reduced. It is
fine for the peak indicators to read up near 0 but should not go over 0 often.
If necessary, it is also possible to invert the polarity of either or both channels with the Invert control. The Channels
control allows several different channel configuration options. If running with stereo input audio, the Balance
control can adjust the static left/right channel balance offset before the L+R mono blend.
Congure Output Routing
Connect the audio outputs as appropriate for your installation. Omnia.7 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 4 BNC connectors are not used in the AM version of the Omnia.7.
Navigate to the System > I/O Options > Main Outputs menu and select the appropriate output source to feed
the transmitter in your particular installation. Typically this would be or Analog Out: “AM TX Output” when
using the analog XLR output to feed your transmitter or Digital: “AM Digital Output” when using the AES/EBU
digital output to feed your transmitter Note that the level controls in this menu are grayed-out when selecting the
transmitter outputs. This is normal. The output levels will be adjusted in the AM Options menu. Other options
(such as HD), if selected here, will un-gray these level controls.
Adjust AM Diversity Delay (If equipped with HD option)
The AM diversity delay can be set by going to the System > I/O Options > Diversity Delay menu.

CHAPTER 2 | 6
QUICK STARTUP GUIDE
Choose a Preset
Return to the Home Menu, then navigate to the AM > Processing menu. Select Load Preset to choose one of the
factory presets. We suggest you audition all of the factory presets to get a feel for each of them.
Note:
Omnia.7 contains a relay-bypass feature that allows unprocessed audio to pass directly through the
unit to prevent complete loss of audio (dead air) any time the software is not active. This includes
when the unit loses power, is in the start-up process, or must re-initialize its software after applying
certain user-initiated conguration changes.
Normally this is not an issue. However, in certain situations - for example, if you have a CD player
connected to the analog inputs and an amplier or speakers connected to the analog outputs - this
means the input and output will be directly connected with no attenuation whatsoever, resulting
in fried speakers (or eardrums) or an eviction notice following complaints from irritable neighbors.
When engaged, the bypass relays hard wire the analog inputs to the analog outputs, and the AES
digital inputs to the AES digital outputs.
Adjust AM Options and Output Audio
Navigate to the System > I/O Options > AM Options menu. Here you will find controls for Pre-Emphasis, HPF
(HighPass - Lo Cut - Filter), LPF (LowPass – Hi Cut / NRSC Filter), Invert input phase, Positive Peak extension,
Test tone generator, 100% Reference level set, Night mode adjustments, input audio Phase rotation/scrambling
and. TX OUT (transmitter output level & tilt compensation adjustments),
For full details, please see Chapter 10 starting on Page 36.

CHAPTER 3 | 7
GENERAL PROCESSING ADVICE
3 General Processing Advice
Know Your Goals
The first step to successful processing – and this applies to ANY processor, not just Omnia.7 - is defining your goals.
Whatever those goals are, Omnia.7 is capable of getting you there.
You may wish to maintain as much quality as possible while increasing loudness somewhat over your existing
processor. You might want to create very consistent source-to-source spectral balance and develop a “signature
sound” for your station. You may find yourself in a situation where you need to stay competitively loud on the dial
at the expense of the best possible sound. Or you may have the luxury of aiming for a more open, cleaner sound that
will draw and keep listeners for longer periods of time without having to worry about all-out loudness.
In any case, it is best to start with a goal in mind and work toward it carefully and deliberately.
Don’t Touch That Dial! (too much)
One big temptation when installing a new processor is to play with every available control, and there’s really no
better way to find out what each control does. But that sort of experimentation and exploration is probably best
done “on the bench” before you put your new acquisition on the air. That way, you’re free to tweak away without
having to worry about jeopardizing your on-air sound or being unnecessarily timid about making adjustments
because you don’t know what affect they will have.
Another suggestion for getting to know your way around Omnia.7 is to find a factory preset that you like and then
go exploring in the various menus to see how that sound was achieved. For example, let’s say you find a preset with
a smooth, open sound which matches your general processing goal. As you explore, you might find some controls
set as you would expect to deliver that sound, but you may also find some unexpected settings that make more
creative use of Omnia.7’s controls. There is much to be learned by studying.
By default, each preset loads up in “Basic” mode to keep things simple. Despite the name, this mode is still very
powerful and may provide all the controls you need to achieve your desired sound and loudness. It is always
possible to go back and forth freely between “Basic,” “Intermediate”, and “Advanced” modes even after making
changes in one mode or another.
Once you are comfortable with navigating through Omnia.7’s various menus and have a good understanding of
how its controls operate, you’re ready to take it for a test drive on the air.
Choosing a Preset
Regardless of whether you end up using a supplied preset “as-is” or make adjustments to customize your sound, you
must start with one of the factory presets. We recommend you find one that most closely matches your goals and
then make any modifications from there as needed.

CHAPTER 3 | 8
GENERAL PROCESSING ADVICE
Making and Saving Changes
Human nature is fickle; the human ear adapts and tires quickly; and Omnia.7 gives you lots of control. With those
things in mind, here are some recommended “Do’s” and “Don’ts” when making and saving changes to presets:
♦DO resist the temptation to constantly fiddle with every control right after you put Omnia.7 on the air.
♦DON’T make hasty, radical changes.
♦DON’T make adjustments to too many parameters at once – that makes it difficult to determine which of
the adjustments is actually responsible for the changes (for better or worse) you’re hearing on the air.
♦DO look to the Band Mix and Parametric EQ sections first to achieve the spectral balance (aka “signature
sound”) that you’re looking for. These are powerful adjustments, and a little EQ can go a long way. This is
generally “safer” than making adjustments to the target, attack, and release rate controls as it is some-
times difficult to know how the different compression stages interact with one another on all material.
♦DO take breaks when adjusting your processing. Ears tire quickly, and if you stay at it too long, you’re
almost sure to make changes influenced by fatigue.
♦DON’T turn your monitor speakers up too loud when making adjustments. High listening levels cause
ears to tire even more quickly and mask both gain riding artifacts and distortion. Most listeners play the
radio in the background, and problems tend to be more audible at comfortable listening levels.
♦DO make small adjustments, particularly to critical controls like Clipper and Limiter thresholds.
♦DO take the time to calibrate a set of high-quality reference monitors (a process described in detail in this
manual) so that any changes you make aren’t skewed by colorations of the speakers or room.
♦DON’T rush the process. Use the “sleep-on-it” method when you’ve reached a point where you are mostly
satisfied with the sound, and then re-evaluate it the next day. If it still sounds good, STOP. If it doesn’t,
make a few adjustments and walk away for another day.
♦DO use the “Save As” method of naming and saving your custom presets rather than over-writing them.
This will allow you to return to any point in your adjustments if you get too far “off track” and keep you
from having to remember (or guess) what changes you’ve made along the way.
Customers sometimes ask if they can make their own custom presets “from scratch.” All custom presets start life as
a factory preset, but the most straightforward, neutral-sounding factory preset is “Reference Settings,” and as such,
it provides the closest thing to a “blank canvas” possible for building your own preset from the ground up.

CHAPTER 4 | 9
HOME SCREEN & USER INTERFACE
4 Front Panel Home Screen & User
Interface
Home Screen
Omnia.7’s home screen is divided into two primary sections: Displays and meters on the left side, and menus and
controls on the right. By default, the Undo meters are displayed in the top section, while input, output, and process-
ing meters are shown at the bottom. The displays can be customized, a subject covered in detail in Chapter 11.
Note:
To make this manual as comprehensive as possible, all available options are shown, and what you
see on your Omnia.7 may vary slightly; for instance, units that do not have the HD or Streaming
option will lack all menus and controls related to HD and Streaming processing.

CHAPTER 4 | 10
HOME SCREEN & USER INTERFACE
Navigation is accomplished using a multi-function rotary encoder, hereafter referred to as “The Control” because
saying “multi-function rotary encoder” more than once a) Sounds really stuffy and elitist, and b) Will annoy us
both.
Generally speaking:
♦Moving the control to the left takes back through the menu hierarchy and eventually lead back to the
Home screen.
♦Moving it to the right takes you to the next branch of the current menu or will enable/disable the
highlighted control.
♦Moving it up or down scrolls vertically through all available options in the current menu. If you see a
scroll bar on the right side of the menu, this indicates there are additional items out of view which can be
seen by continuing to scroll up or down.
♦Turning the control clockwise or counterclockwise typically scrolls through available choices in cyclical
“list” type controls and makes adjustments when a specific control is highlighted as indicated by a yellow
outline.
Menu Hierarchy
The basic Omnia.7 menu hierarchy is organized as a series of menus and sub-menus with each sub-menu getting
more and more specific in nature and finally ending in individual controls.
Navigation paths will be expressed as Menu > Sub Menu > Submenu > Control with color images showing what the
controls look like in the NfRemote application.

CHAPTER 5 | 11
NfREMOTE CLIENT SOFTWARE
5 Omnia.7 Remote Interface Software
Omnia.7 can be controlled remotely via the included remote interface software, NfRemote. This is a separate
“client” software application that can be downloaded directly from the unit and installed on nearly any desktop,
laptop, or tablet PC of reasonably modern vintage running on Windows 2000, XP, Vista, 7, 8 or 10. The most recent
version even offers support for high DPI displays. This same remote client can also be used to connect to other
Omnia products, including Omnia.9, as well as many Linear Acoustic products.
While the client software interface does look different than the menu system on the front panel of the Omnia.7
itself, its general layout and functionality are very similar. If you can do it on the front panel, you can do it via
remote - a feature you’ll appreciate if your Omnia.7 is located in a noisy rack room, at the transmitter site, or even
thousands of miles away at a distant station you oversee. Remote access also offers the benefit of more screen real
estate, making adjustments easier to make and displays easier to read.
Perhaps one of the most valuable capabilities of the client software is speaker calibration. Since your Omnia.7
already contains a built-in pink noise generator and an RTA, adding your own calibrated microphone to the setup
will allow you to perform a calibration of any speaker system – including your studio, control room, rack room,
production facility, or any remote monitor point.
You may wonder why we consider this to be such an important exercise when listeners aren’t going to be hearing
your station on calibrated monitors. Great question! Yes, listening to your station’s processing on speakers of
different qualities in a wide variety of listening environments is important to get a “real world” feel of how things
sound – but we feel strongly that having at least one set of calibrated “reference” monitors is absolutely critical to
making educated decisions as you adjust your processing.
If you make adjustments based upon what you hear on un-calibrated speakers (from within the Program Director’s
car, for example...) every decision you make will be influenced by the inaccuracies of those speakers in that room.
Details of how to perform such a calibration are found later in this chapter.
Downloading, Installing, and Conguring the NfRemote
Client Software
Before the client software can be downloaded, your Omnia.7 must be connected to your network and must have an
IP address assigned to it, a process outlined earlier in this manual. It must also have a password enabled (default is
“1234”) and the PC you will use to download it must be “whitelisted”.
To whitelist the PC, navigate to System > System Config > HTTP Access and enter the IP address and subnet mask
information for the PC you will be using to connect to the Omnia.7’s http webpage interface using the following
example as a guide: 192.168.1.0/255.255.255.0 (The beginning of the IP range followed by the subnet mask,
separated by a forward slash). Standard TCP/IP wildcards such as the asterisk (“ * “) are also supported. Up to
eight addresses can be stored.