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Manual-

C4 

QUAD COMPRESSOR / LIMITER

Quick Start

Rejected Rane advertising slogan #1743: “C4. It’ll blow your mind!”

We’re not entirely sure why the marketing department didn’t like the idea, but be assured: unlike its explosive material namesake, 

the C4 Quad Compressor will not blow up. Heck, it won’t even spark or sizzle under normal circumstances. The only thing smokin’ 

will be your mix, thanks to the C4’s smooth compression, precise dynamic EQ and ultra-fast limiting.

Each of the C4’s four channels offers a full-featured compressor with selectable 

Comp

ressor and 

Dynamic EQ

 modes. In ad-

dition, an oversampled, brick wall 

LIMITER

 is included for catching signal peaks. 

COMP

THRESHOLD

RATIO

ATTACK

RELEASE

 and 

KNEE

 give full control over the audio envelope. The compressor is toggled on and off using the 

ACTIVE/BYPASS

 

switch; the Limiter is engaged at all times and is not affected by this switch. Limiter operation is completely independent of the com-

pressor with its own 

LIMIT THRESHOLD

 control and 

Headroom

 meter. Channels 1 & 2, and 3 & 4 can be 

LINK

ed to maintain 

a proper left/right stereo image, with channels 1 and 3 acting as the 

MASTER

s, respectively.

For the ultimate in dynamics processing flexibility, the C4 includes both internal and external side-chain functions, with a full 

PEQ (parametric EQ) section included for good measure. External side-chain mode is automatically selected whenever a connector is 

plugged into the rear panel 

SIDE-CHAIN

 jack. Selecting 

LISTEN

 mode routes the side-chain audio to the channel output, allow-

ing you to hear the effect of PEQ adjustments when doing frequency-sensitive compression or de-essing. If you'd prefer to not use the 

side-chain PEQ, simply set the PEQ GAIN to 0 dB.

Setting up the C4 is a breeze thanks to the fast, accurate side-chain and Gain Reduction combination meter. For users unfamiliar 

with de-essing, the 

t

 pointer on each control indicates a recommended setting for this specialized application. The Auto attack and 

release mode speeds up sound check, and the 

Tips and Tricks

 on page Manual-8 serve as a handy reference guide for getting started 

with compression. Thank you for taking the time to read this Quick Start. We now return you to your regularly scheduled sound 

check or recording session.

OPERATORS MANUAL

0

0

6

3

12

24

dB

-20

-10

0

-40

-30

+20

+10

-20

-10

0

-40

-30

+22

+10

ms

ms

dBu

dBu

dB

Hz

oct

Headroom

dB

8

-3 -1

12

4

2

-6

-12

1

n:1

MASTER

SLAVE

10

2

1.5

5

-6

+6

-6

+6

-6

+6

-6

+6

1

500

100

50

250

25

10

2

1

5

0.5

20k

640

125

3.15k

20

500

125

1 s

2 s

50

25

+12

-12

+12

-12

0

0

6

3

12

24

dB

-20

-10

0

-40

-30

+20

+10

-20

-10

0

-40

-30

+22

+10

ms

ms

dBu

dBu

dB

Hz

oct

Headroom

dB

8

-3 -1

12

4

2

-6

-12

1

n:1

10

2

1.5

5

1

500

100

50

250

25

10

2

1

5

0.5

20k

640

125

3.15k

20

500

125

1 s

2 s

50

25

+12

-12

+12

-12

0

0

6

3

12

24

dB

-20

-10

0

-40

-30

+20

+10

-20

-10

0

-40

-30

+22

+10

ms

ms

dBu

dBu

dB

Hz

oct

Headroom

dB

8

-3 -1

12

4

2

-6

-12

1

n:1

MASTER

SLAVE

10

2

1.5

5

1

500

100

50

250

25

10

2

1

5

0.5

20k

640

125

3.15k

20

500

125

1 s

2 s

50

25

+12

-12

+12

-12

0

0

6

3

12

24

dB

-20

-10

0

-40

-30

+20

+10

-20

-10

0

-40

-30

+22

+10

ms

ms

dBu

dBu

dB

Hz

oct

Headroom

dB

8

-3 -1

12

4

2

-6

-12

1

n:1

10

2

1.5

5

1

500

100

50

250

25

10

2

1

5

0.5

20k

640

125

3.15k

20

500

125

1 s

2 s

50

25

+12

-12

+12

-12

18

18

18

18

C4 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

LINK 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen 

Comp 

LIMIT 

BYPASS 

ACTIVE 

PEQ 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen  Dynamic

EQ

Comp 

LIMIT 

BYPASS 

ACTIVE 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

LINK 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen  Dynamic

EQ

Comp 

LIMIT 

BYPASS 

ACTIVE 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen  Dynamic

EQ

Comp 

LIMIT 

BYPASS 

ACTIVE 

PEQ 

PEQ 

PEQ 

POWER 

TH 

TH 

TH 

TH 

QUAD

COMPRESSOR

WEAR PARTS: This product contains no wear parts.

Contents

Quick Start ....................................................................1
Dynamics 101 Revisited ............................................2

   Compression .....................................................................2
   Dynamic EQ ......................................................................3
       De-essing ......................................................................3
       Dynamic EQ Applications .........................................4
   Peak Limiting .....................................................................5

Making Connections ..................................................6
Front Panel Controls .................................................6

   Side-chain and Gain Reduction Meters .....................6
   MASTER / SLAVE Stereo Link .....................................7
   ACTIVE / BYPASS ..........................................................7
   COMPressor THRESHOLD, RATIO and GAIN ......8
   ATTACK, RELEASE and KNEE ....................................8
   SIDE-CHAIN Mode and Listen ....................................9
   SIDE-CHAIN Parametric EQ ........................................9
   Limit Threshold and Headroom Meter ......................10

Tips and Tricks ...........................................................10

Содержание C4

Страница 1: ...or taking the time to read this Quick Start We now return you to your regularly scheduled sound check or recording session OPERATORS MANUAL 0 0 6 3 12 24 dB 20 10 0 40 30 20 10 20 10 0 40 30 22 10 ms...

Страница 2: ...the signal and the side chain The signal path is the route the main signal takes through the unit from the input circuits to the gain control section and exits through the output circuits The signal c...

Страница 3: ...sed for de essing True de essing involves comparing the relative difference between the troublesome sibilants and the overall broadband signal then setting a threshold based on this difference there f...

Страница 4: ...s is very common to switch between a rhythm tone and a lead tone Of ten the musician sets the lead tone brighter than the rhythm tone so it cuts through better The problem comes when the sound system...

Страница 5: ...the original full volume input signal we need to limit perhaps the unfortunate blast of noise when the vocalist inadvertently unplugs the phantom powered mic The bottom line shows the limited output...

Страница 6: ...r is doing at all times Side chain Level Display In Compressor mode the floating meter displays the side chain level relative to the Threshold dBr making it easy to gauge how close the signal is to th...

Страница 7: ...nnels are linked the Master channel Limit Threshold setting determines the maximum output level for both chan nels However the greater of the two peak detected signals is used to control the gain of b...

Страница 8: ...increase as less gain reduction is required and is adjustable from 25 ms fast to 2 seconds slow It is important to understand the difference between release rate as determined by this control and rele...

Страница 9: ...toggle the side chain out of Listen mode as if you meant to have it engaged for the first six songs The Side chain PEQ filter operates in one of two ways depend ing on whether the channel is operating...

Страница 10: ...uggested settings in Table 1 then season to taste by adjusting the Threshold until your ears tell you it s just right Vocals A tough issue with vocals is the extreme dynamic range of some singers Thos...

Страница 11: ...and Gabor Szabo are two musicians who use sustain to great acclaim although they did it the old fashioned way of cre ating feedback by aiming the guitar pick ups at the loudspeaker and then jamming o...

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