CHAPTER 25
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FACTORY PRESETS
New York – by Jesse Graam
One of Omnia.9’s loudest factory presets, “New York” uses 6-bands of fast multi-band release times, lots of multi-band
limiting, low multi-band AGC thresholds, and a generous amount of clipping to burn a hole in the dial with a very dense,
compressed sound. A very generous bass boost from the parametric EQ creates a loud, harmonic-rich bass but never forces its
way into the mids or highs. If your market demands maximum loudness, this is a good starting preset that can be backed down in
several ways as needed to trade off a bit of that loudness for a cleaner sound.
Northridge FM – by Jim Kuzman and Leif Claesson
“Northridge FM” is a 7-band preset that makes use of the Wideband AGC2 compressor in “Bass Only” mode to deliver lots of
bass punch. Loudness is built relying more upon the dynamics section of Omnia.9 rather than the final clipper, specifically
through the use of the Wideband AGC1 compressor and the multiband limiters. It is also one of the brightest and “coolest”
factory presets in terms of spectral balance and can be made louder if needed by increasing the final clipper drive.
Northridge HD – by Jim Kuzman and Leif Claesson
With the exception of “Plutonium”, all other factory presets have their “HD only” parameters (such as the final limiter and
output mix controls) tuned in such a way that choosing the same preset for FM and HD allows for a very close on-air sonic
match when receivers switch between the analog and digital signal. With “Northridge”, however, using the FM version of
the preset will result in an on-air sound that was too heavy on the highs for HD. Therefore, we recommend stations using
“Northridge FM” on the analog side use “Northridge HD” for the HD path.
NYC Attack of the Camclones – by Jesse Graam
Slightly louder than “New York,” “Attack of the Camclones” provides a huge, tight, dense bass texture, uses fast attack and
release times to build density, and has dip in the lower mids to keep male vocals from becoming muddy. It also foregoes any
stereo enhancement. A great choice for CHR stations who want high cume and an ear-catching, prominent sound just about
guaranteed to win a major-market loudness war!
Orlando – by Jim Kuzman
Smooth and laid back but far from shrinking away on the dial, this 7-band preset provides gentle re-equalization from the
multi-band AGC while still maintaining some of the character of the original audio. “Orlando” is competitively loud when fed
more contemporary music, but very suitable for jazz and classical stations that desire better spectral balance and dial presence
than presets designed specifically for those types of music. There’s plenty of room to build loudness as needed with the final
clipper without losing the overall feel of this preset.
Passive Aggressor – by Jesse Graam
A 5-band preset with a split personality, “Passive Aggressor” is relaxed and dynamic in feel, yet it provides a great degree of
spectral control and overall loudness by utilizing Omnia.9’s “Gain Reduction Override” settings. Looser ratios below threshold
and very tight ratios above in the low and high bands coupled with very slow multi-band attack and release times make this
preset a great easy-to-listen-to choice for stations that place an emphasis on TSL.
Plutonium FM – by Leif Claesson
“Plutonium FM,” the loudest factory preset and the most aggressive of the “atomic” presets, was initially designed to satisfy
the specific needs of a large European broadcast group who not only wanted large quantities of bass, but plenty of bass punch
and minimal distortion as well. When processing for all-out loudness, there’s little (or no) room left for bass. Heavy bass
clipping makes some room, but at the expense of punch. “Plutonium FM” solves this dilemma by employing the WB AGC2
compressor in the “Bass Only” mode and incorporating the Transient Enhance feature. If your needs call for lots of bass and dial
domination, “Plutonium FM” delivers.
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