The most recent software is available for download on each corresponding product page.
Protect your equipment from damage by employing surge suppression and proper grounding techniques, especially if the unit is located at a transmitter site. Modern digital equipment must be treated similarly to a computer regarding installation where there may be power surges or nearby lightning strikes. Below is a link to a paper by one of our support engineers detailing proper grounding and containing links to some surge suppression products for both the power mains and the often neglected telephone and ISDN line connections that can (and do) conduct powerful surges into the equipment.
If the unit still has power and you can see text on the screen it is possible that the rear panel PCMCIA software card (except OmniaONE which has no card) has become corrupted. Please note that there may be other hardware damage from the surge to other components that may require a trip in for repair. Please Contact Omnia Support for assistance. They can arrange to send you a new software card to try or they can give you an RA number to send the unit in for repair.
Omnia Original (Classic) and Omnia-3: "tomtom" Omnia 5 / 6 via RS-232 serial port or modem: "tomtom" Omnia 5 / 6 via front panel or Ethernet remote: "engineer" OmniaONE or Omnia.11 via front panel or Ethernet remote (built-in web page) : "omnia"
Yes. All Omnia processors except the Original Omnia FM (Omnia Classic) and the Omnia-3 have a standard Ethernet port for remote control. On some models, remote control is achieved with a special free PC application downloaded from the OmniaAudio.com website. Newer models have a built-in webserver that allows you to directly control the unit via IP using any standard Web browser. You can also connect directly using a laptop and a Cat-5 crossover cable.
With normal program audio, the Input Gain Master should be adjusted so that the input bar graph meters are hitting from about -15 to –12 dBFS on regular peaks or a little higher. These are true peak-reading meters and will not read correctly on steady-state tones. Once set properly, you should see about 10 dB of gain reduction on the WB AGC gain reduction meter with normal program audio at your 0VU reference. It is normal for the WB AGC gain reduction meter to continue to show gain reduction even when the WB AGC section is bypassed.
For the original Omnia.FM/HOT, Omnia-3, Omnia-5EX, Omnia-6: The short answer is "Not enough to drive your DJ's crazy!" We have measured the delay from the input to any output at approximately 9 ms on the Omnia-6 EX. (the Omnia-3 and OmniaONE will be somewhat less and the Omnia-6 EXi slightly more) This is enough for a slight voice-character coloration to be audible to the person speaking, but not enough to be a problem for talent monitoring off the air. After adjusting this setting, most talent gets used to the "new sound" within a few breaks. Note: If there is additional delay added to the air chain, such as from a Digital STL (especially a codec based STL), the cumulative delay may become excessive and cause discomfort for the on-air talent. Real-world tests have determined that a slight echo may begin to be heard at about 15 ms, and anything above 25-30 ms is usually too annoying to talent monitoring off the air. For the Omnia.11: The short answer is "Too much for your DJ's to monitor directly from the FM or HD channel outputs". About 30ms. BUT...The DJ's can use the special low-delay DJ output instead (depending on your system). This can be routed to any of the Omnia.11's outputs in the appropriate submenu of the Output menu.
No, Omnia products only pass audio when powered on
No. The hardware platform and chassis are different and these units cannot be physically upgraded to the latest platforms.
Yes, the latest version of all Omnia user manuals is available for download on each product page.
Yes, with one exception. Depending on model and style, some physical output jacks may not be active. For example, the BNC composite MPX output jacks on an Omnia ONE will be inactive when a style other than FM is running (AM, Multicast or Studio Pro).
The serial number is located on a small barcode sticker on the rear panel of most units. Most serial numbers start with 4 numbers followed by 2 or 3 letters and then 4 more numbers. For example here is the serial number for an Omnia-3: 4300BQ2625. The OmniaONE uses the format: 0218xyyyy and the Omnia.11 uses the format: 0279xyyyy. Products that have a built-in Ethernet interface will also have a similar barcode sticker that begins with 0050c. This is the unit's MAC address.
In the past, this has been a relatively easy question to answer: At the transmitter. But recent advances in technology as well as the advent of HD Radio and streaming audio have made the decision less clear cut, and the best answer is, "Well, it depends!". Placing the processor at the transmitter site has several advantages. If offers the ability to take a direct composite output to the exciter, or in the case of certain processor/transmitter combinations, to use Omnia Direct (composite over AES) to provide a direct MPX link. Using the composite output allows us to create peaks in excess of 91% (as opposed to using a pre-emphasized L/R output in which case we must leave 9% for the pilot downstream). In the case of Omnia.7 and Omnia.9, it also permits the use of such features as built-in RDS and, in the case of Omnia.9, the Auto Pilot feature. For Omnia.11, using the composite output takes advantage of the "One Louder" pilot embedding feature. So there are still definite advantages in terms of peak control and loudness when the processor is located at the transmitter site. These same advantages can also be realized when the processor is placed at the studio under two specific circumstances: One, when using a composite STL (though these are admittedly less common today than in the past) or two, when using a digital STL that is capable of handling a 192kHz bitstream signal in which case Omnia Direct can be used. On the flip side, placing the processor at the studio has advantages too. Equipment associated with generating HD-2 and HD-3 signals is typically located at the studio, so processors capable of handling these additional channels (such as Omnia.9) are best located there as well. The same is true for the processing (and/or encoding) of streaming audio, as encoders and servers are normally located at the studio. Finally, it is not unusual for a modern processor to operate with a throughput latency that make off-air monitoring difficult if not impossible (as does the operation of an HD-1 signal), so low-latency talent monitoring patch points or processing cores are included to feed talent processed audio; however, these are only practical if the processor is at the studio. Another consideration is network connectivity. It is increasingly common to have an internet connection at the transmitter site and all modern processors allow for remote control via TCP/IP. However, if your transmitter site lacks network or internet access, placing the processor there means any adjustments or observations must be made on-site. Installing the unit at the studio almost guarantees remote access (or a stroll down the hallway instead of a drive to the transmitter).