Omnia Audio Omnia A/XE - Manual (Page 55)

Deep Bass EQ: For those who demand thunderous bass, the Omnia A/XE has it! Up to
12 dB of “thunder” can be added to shake your walls! This is not a simple bass boost, but
a rather sophisticated concept that takes into consideration the time alignment of the low
frequencies as they pass through the entire system. It allows a loud, clean low end, with
absolutely no sacrifice to the overall loudness of your signal. The Deep Bass function is a
shelf boost at 85 Hz, utilizing a phase compensated 12dB/octave slope to emulate the EQ
function.
Phat Bass EQ: Phat Bass is a unique enhancement that adds filtered harmonics of the lower
registers to the upper bass frequencies. The algorithm extracts information contained in
the initial attack to do its work, and low frequency texture is therefore emphasized. Older
recordings sound fuller (or phatter) with the added illusion of loudness. Phat Bass EQ also
helps radios with small speakers sound like they have more bass than they actually do.
X-Over
Phase Linear, Time Aligned Crossover: Most multiband audio processors make a com-
promise in the crossover area in order to provide a flat dynamic frequency response. This is
done to avoid audible peaks or dips in the recombined frequency response as the individual
band gains change during processing. In an effort to minimize this problem, most proces-
sors use a fixed phase-offset in the crossovers. While such treatment helps to minimize
frequency response peaks and dips, it also results in a loss of phase linearity, increasing
“smearing’, and reducing musical clarity.
In Omnia A/XE’s implementation, the crossover network is carefully time-aligned so
that the recombined spectrum remains flat, regardless of the amount of gain control being
applied within any band. This true phase linear response assures that harmonic overtones are
not displaced in time. The result: the truer, more natural, and more musical Omnia sound.
The crossover frequencies are not adjustable.
Multiband AGC Sections
Similar in character to the wideband AGC described above, but expanded to three bands,
this section has the ability to significantly add power and loudness to the audio while
tailoring and pre-processing it for delivery to the final limiter section. The system uses
different algorithms for each of the bands: The low and mid bands use a feedback configura-
tion, which produces a larger, warmer sound on lower frequencies. The high band utilizes
a feedforward design that maintains a more open, natural and musical texture on higher
frequencies.
As with any multiband processor, improper adjustment can exaggerate noise at high
frequencies, particularly with older recordings that possess a good deal of tape hiss. This can
especially occur if the highest AGC band is driven so that significant gain reduction occurs,
and the band’s gating control is set to the lower end of the scale. During audio segments
that have little or no HF content, the AGC will try to increase its gain in an effort to restore
treble balance. Even during periods when the gate function is in the default Freeze mode,
the problem might still exist with some programming.
Since the user parameters are the same for all three bands, only the LF Band will be
detailed here.
PrOCESSING AdJUSTMENTS | 49