The C4 Quad Compressor
presents matchless feature, performance and ergonomic value. Rounding out Rane's popular series of analog-controlled digital
products for live sound
applications, the C4 offers four feature-packed channels of compression
and limiting in a 2U
package. Internal and external side-chain
options offer a fully adjustable parametric EQ
for frequency-dependent compression
or de-essing. The oversampled brick wall limiter
determines the maximum output level
and operates independent of the compressor
. Adjacent channels link in a master
/slave arrangement to ensure accurate tracking of stereo
inputs. Intuitive meters show side-chain level
relative to Threshold
reduction and complete dynamic range
at a glance. A de-essing 'preset' in each channel
is found by aligning the controls to the triangles, but with far greater control than other de-essers.
The C4 is a member of Rane's analog-controlled digital
family of products, including the G4 gate
, DEQ 60 and DEQ 60L
graphic equalizers, and the PEQ 55 parametric equalizer
controls (knobs, sliders) allow a performer or sound
engineer to make precise adjustments, in real time
. Digital signal processing
) provides a degree of accuracy, consistency and flexibility that simply cannot be matched with a traditional analog
The C4 combines the best of both worlds by using analog
controls and high performance digital
processing to achieve an unprecedented feature set. Benefits of this approach:
- Allows the use of advanced compression and dynamic equalization techniques which are difficult or costly to implement in traditional analog designs.
- Improved accuracy and repeatability.
- Exceptional immunity to RF and electromagnetic interference.
- Lower cost per channel.
The C4 uses a relative threshold
approach to dynamic EQ
to ensure precise, predictable performance. Unlike traditional de-essers, which simply use an EQ
boost in the side-chain
to increase the compressor
to high frequencies, the C4 actually determines the amount of sibilance
present in the program material and compares it to the overall signal content. The benefit to this approach is that de-essing depends only on the relationship between sibilant sound
and the broadband (full-range) sound
, and is not affected by changes in absolute level
. The result: sizzly sounds are successfully subdued during soft or strident sections. A de-essing 'preset' in each channel
is found by aligning the controls to the triangle markers.
with a simple side-chain EQ
boost is not a true de-esser
reduction is directly affected by varying input levels, not the actual ratio of broadband to sibilant material.