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Audio Inputs (Female XLR)
Balanced XLR-type connectors are used to input both analog and AES-3 digital audio. Even though both analog
and digital cables can be connected, only one input can be set active. Input selection is done through the Input
Source software parameter in the Input & Output menu. The Analog input is the factory default selection.
The stereo analog inputs are designed for standard +4 dBu balanced signals. The digital AES-3 input accepts
any sampling rate between 32 and 50 kHz. No user adjustment is necessary since a sample rate converter is built
into the unit. Individual channel gain and level setting for both analog and digital is done using the Input &
Output menu’s software parameter settings.
A Note About Relative Phase: If the relative phase of your installation including the Omnia-3 differs from
your existing system, it could cause your announcers to feel they sound “weird” in their headphones. If this
happens, then the relative phase of the processor is 180 degrees from what your air talent are used to. To
remedy this, you can reverse the polarity to both of the two analog inputs (is pin 2 or pin 3 hot!?), but it’s a lot
easier to accomplish this function by changing the Input Phase software parameter setting located under Input
Levels in the Input & Output menu.
Discrete Audio Outputs—Analog & Digital (Male XLR)
Individual Left and Right analog outputs are available on two male XLR jacks, as is a single stereo AES-3
output. The 48 kHz digital output is produced directly from the output of the final processing section. The
analog output is derived from a D/A converter driven from the digital output.
Note: Both the analog and digital AES-3 outputs are always active and can be used simultaneously.
Composite Outputs (BNC) – fm Turbo versions only
These two low impedance outputs (Composite 1 and Composite 2) are each capable of driving up to 50 feet of
coax cable. The output levels are individually adjustable between the outputs so the unit can operate as a
“composite DA” to drive a variety of equipment. The output levels and other stereo generator settings are set
through software parameters in the Stereo Generator menu.
19 kHz Data Output (BNC) – fm Turbo versions only
This TTL-level 19 kHz square wave output can be used as the reference signal for any SCA generator that
operates at 57 kHz or other multiple of the 19 kHz pilot frequency. Using the 19 kHz clock from the Omnia-3
stereo generator makes it much easier to phase lock the SCA signal to the pilot frequency. This is extremely
helpful in eliminating intermodulation components that might exist between the pilot and SCA signal. For RDS
users, this feature is also very useful.
SCA Input (BNC) – fm Turbo versions only
Any SCA signal above 53 kHz can be added to the composite outputs of the Omnia-3 by routing the SCA signal
through the SCA INPUT connector. The SCA signal is mixed directly into both composite outputs. A high-pass
filter on the SCA input provides additional crosstalk protection from the SCA to the main channel composite
signal. The SCA modulation is controlled through software parameters in the Stereo Generator menu.
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