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C4
Operator's Manual

Rane C4 Operator's Manual

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Manual is about: QUAD COMPRESSOR / LIMITER

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Manual-

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 Compressor 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 LINKed to maintain

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

-20

-10

-40

-30

+20

+10

-20

-10

-40

-30

+22

+10

dBu

oct

Headroom

-3 -1

-6

-12

n:1

MASTER

SLAVE

1.5

-6

500

100

250

0.5

20k

640

125

3.15k

500

125

1 s

2 s

+12

-12

+12

-12

-20

-10

-40

-30

+20

+10

-20

-10

-40

-30

+22

+10

dBu

oct

Headroom

-3 -1

-6

-12

n:1

1.5

500

100

250

0.5

20k

640

125

3.15k

500

125

1 s

2 s

+12

-12

+12

-12

-20

-10

-40

-30

+20

+10

-20

-10

-40

-30

+22

+10

dBu

oct

Headroom

-3 -1

-6

-12

n:1

MASTER

SLAVE

1.5

500

100

250

0.5

20k

640

125

3.15k

500

125

1 s

2 s

+12

-12

+12

-12

-20

-10

-40

-30

+20

+10

-20

-10

-40

-30

+22

+10

dBu

oct

Headroom

-3 -1

-6

-12

n:1

1.5

500

100

250

0.5

20k

640

125

3.15k

500

125

1 s

2 s

+12

-12

+12

-12

SIDE-CHAIN

RELEASE

ATTACK

KNEE

GAIN

FREQUENCY

BANDWIDTH

LIMIT THRESHOLD

RATIO

GAIN

COMP THRESHOLD

LINK

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

Soft

Hard

dBr

Reduction dB

Listen Dynamic

Comp

LIMIT

BYPASS

ACTIVE

SIDE-CHAIN

RELEASE

ATTACK

KNEE

GAIN

FREQUENCY

BANDWIDTH

LIMIT THRESHOLD

RATIO

GAIN

COMP THRESHOLD

LINK

Auto

Soft

Hard

dBr

Reduction dB

Listen Dynamic

Comp

LIMIT

BYPASS

ACTIVE

SIDE-CHAIN

RELEASE

ATTACK

KNEE

GAIN

FREQUENCY

BANDWIDTH

LIMIT THRESHOLD

RATIO

GAIN

COMP THRESHOLD

Auto

Soft

Hard

dBr

Reduction dB

Listen Dynamic

Comp

LIMIT

BYPASS

ACTIVE

PEQ

POWER

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

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Summary of C4

Page 1
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 wo...
Page 2
Manual- dynamics 101 revisited introduction compressors and limiters are in the business of automatically controlling the volume or dynamics of sound, just like your hand on the fader, or the fat man dancing in front of the mid- range cabinet. Used wisely, often in conjunction with each other or wit...
Page 3
Manual- dynamic eq dynamic eq differs from the forms of compression listed above in that it dynamically controls the boost/cut of a parametric filter rather than broadband frequency gain. The basic dynamic eq uses a bandpass filter in the side-chain with variable center frequency and bandwidth. The ...
Page 4
Manual-4 dynamic eq applications auto-correct microphone proximity effect use dynamic eq to automatically correct for timbre changes due to the low frequency boost caused by the proximity effect of cardioid microphones (see figure 6), which occurs when a singer/speaker does not remain a consistent d...
Page 5
Manual-5 output limit threshold input output limit threshold peak limiting a limiter is just a compressor with a really high ratio, right? Well…not exactly. Although the two devices use similar termi- nology (threshold, attack, release, and so on), they serve two completely different purposes and th...
Page 6
Manual-6 making connections the c4 features auto balanced/unbalanced xlr and ¼" trs input and output jacks, permitting connection to virtually any mixing console. Side-chain inputs are also auto balanced/unbal- anced, on ¼" trs only. Dynamics processors typically connect using a mixing console’s ins...
Page 7
Manual-7 master / slave stereo link when channels are linked • bypassing the master channel does not automatically bypass the slave channel. Channel active / bypass switches are the only controls which do not follow the master channel, making it possible to bypass each channel individually. • select...
Page 8
Manual-8 compressor threshold, ratio and gain 0 -20 -10 0 -40 -30 +20 +10 dbu db n:1 10 2 1.5 5 -6 +6 1 +12 -12 ratio gain comp threshold *oqvue#v 0 v u q v u e # v 5isftipme 3bujp the threshold, like crossing through a doorway, is the beginning point of gain adjustment. When the input signal is bel...
Page 9
Manual-9 figure 5. The hard knee compression characteristic has a 0 db span. The soft knee compression characteristic has a 0 db span. Side-chain mode and listen *oqvue#v 0 v u q v u e # v 5isftipme )bse 4pgu e#tqbo side-chain parametric eq comp selects compressor mode for the channel. Dynamic eq se...
Page 10
Manual-0 limit threshold and headroom meter in addition to the compressor / de-esser, each channel of the c4 features an independent, brick-wall limiter with an instanta- neous attack time, fixed 25 ms hold time and a fixed 6 db/sec- ond release rate. The c4’s limiter uses oversampling in order to e...
Page 11
Manual- bass it is common for the sound mixer to reduce the bass signal because it overwhelms the total system. Use a compressor to smooth a bass sound by lessening the variations between the strings or strongly resonant notes, and increasing sustain. Typical settings for a bass guitar are a ratio o...