CHAPTER 25
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FACTORY PRESETS
Stacked Boxes Plus! – by Jim Kuzman
Offspring of “Stacked Boxes,” the “Plus!” version uses six bands of multiband compression and limiting instead of four,
providing a similar overall feel as the original but with more refined mids and better source-to-source spectral control.
The Blitz – by Jim Kuzman
Living proof that loudness and high-quality audio are no longer mutually exclusive qualities, this 6-band preset hands over
tight, solid bass, intelligible mid-range, an airy high end, and a wide stereo image. Designed to provide the maximum degree of
loudness but never at the expense of audio quality, “The Blitz” is a great choice for classic and active rock formats with plenty of
room for an extra dB or two on the clipper drive for those who need more loudness. (Thanks, Bill!)
Tokyo – by Jesse Graam
Born of “Passive Aggressor” and created in homage to the “classic” sound of previous Omnia processors, the 7-band “Tokyo”
delivers detailed transients and percussion without sacrificing average loudness. The mid-range is full and round with
increased vocal intelligibility, a sound that translates well to smaller speakers and earbuds as well as higher-quality systems. A
tightly-controlled low end ensures the bass always shows up for the party.
Trinity – by Leif Claesson
Inspired by the sound of the classic Omnia.3 FM Turbo, this 3-band preset is dynamic and punchy with an open mid-range and
a more classic “Omnia” sound. “Trinity” doesn’t use any parametric EQ or stereo enhancement, runs with a very light ratio in
the multi-band section, and presents itself very transparently on the air, making it suitable for nearly any format.
Upsidasium – by Leif Claesson
The smoothest and most open of the “atomic” presets, “Upsidasium” is still relatively loud but thanks to very loose multiband
ratios, is also extremely open-sounding. Drums and other transient sounds cut through the mix, vocals are dynamic, and the
upper high end delivers that “lighter than air” sound (here’s looking at you, Denny!). If your situation permits giving up the
last dB of loudness in favor of a sound that’s easy to listen to long-term but you don’t want to sound underpowered on the dial,
“Upsidasium” offers the perfect compromise.
Uranium-238 – by Leif Claesson
The second loudest of the “atomic” presets, “Uranium-238” is slightly less radioactive version of “Plutonium FM”. It has a
similar sound to its parent preset, but does not utilize the Wideband 3 compressor after the multiband section and employs less
final clipping. A good choice if market-dominating loudness is still your goal but “Plutonium” feels too over-the-top.
Zenith – by Jesse Graam
How much processing can you get away with before things start to sound processed? The 7-band “Zenith” was created to
answer that question. Always open and natural sounding in exchange for overall spectral and loudness consistency, this preset
lets the music be what it was intended to be – with just a little push in the right direction.
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