Tc Electronic C300 [20/23] C300 processing
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C300 PROCESSING
Comp/Lim mode - C300
Wideband Compressor
The wideband/fullband compressor type is
applied in the drum programs. The
compression is trigged by the entire signal.
Multiband Compressor
Where the wideband compressor excels in
limited frequency areas the multi-band
compression excels on more complex program
material with a wider frequency range. This
being both composite material but also sources
such as vocals, horns and guitar that despite
their immediate simple structure can suffer from
the “breathing syndrome” where the
compression of the lower frequency bands
ends up controlling the upper frequencies also.
The multi-band compression style splits the
signal in three frequency areas and
compresses these bands individually. Attack
and Release settings are prepared and tuned
on the C300 programs giving you excellent
starting points. Threshold and Ratio are set on
the front.
De-Ess
The De-Ess programs also utilize the multi-
band compression type and is fine-tuned to
reduces sibilance from “s” sounds that can be
far too dominant.
18
For the compressor to be used as a musical
tool the set attack times are relatively long.
(from 10 to 200ms) This gives the disadvantage
that certain peaks can pass. Therefore a limiter
with an attack time of as little as 0.1ms and a
ratio of 1:infinity prevents close to all
overshoots.
For different purposes there are different Limiter
types. The C300 limiter is a peak type limiter
and it is automatically active on all program
types using the multi-band compression style.
(see pages 14-15).
Though a peak limiter is applied on all
multiband compression programs it is
worth noticing that C300 holds an
exceptional tolerant headroom structure. In
combination with the Peak Limiter that ensures
that occasional peaks are tamed you can
actually operate very close to max without any
risks of overshoots.
Gate/Expander mode - C300
Set the mode selector to “GATE/EXP”
position.
Noise, whether it is hiss, hum or just
background noise is always a parameter to
evaluate and deal with. Initially noise must of
course be reduced to a minimum from the
source, but with a Gate/expander it is also
possible to reduce the noise on channels when
no significant signal is present.
Basics
A Gate - or downward expander, - is used to
attenuate the signal when the signal is below a
certain threshold. When talking about attack
and release times in reference to a noise gate:
- the att
ack time is the time is takes to for the
gate to “open” when the signal rises above the
threshold and...
- the release time
is the time it takes for the
gate to reach the specified attenuation.
C300 Gate programs
All programs except for Hiss/Hum trigger
dedicated Gate/Expander settings tuned to the
various program materials.
Hiss & Hum programs
Dedicated programs for hiss and hum
elimination.
Содержание
- Important safety instructions 3
- Important safety instructions 4
- Table of contents 5
- If you just can t wait 6
- Quick start 6
- Introduction 7
- Program types 7
- Front panel overview 8
- Front panel 9
- Rear panel connections 10
- Signal flow 11
- Ch 1 send ch 1 return 12
- Ch 2 send ch 2 return 12
- Insert 12
- Typical setups 12
- Acoustic guitar acoustic guitar 13
- Bass dm bass dm 13
- Bass guitar bass guitar 13
- Connect master out or group out to c300 left right inputs and c300 outputs to downstream device e g stereo amplifier 13
- Control schematic 13
- Cross over 13
- De ess1 de ess1 hum hum 13
- De ess2 de ess2 13
- Elec guitar elec guitar 13
- Engine 1 engine 2 13
- Female vocal female vocal 13
- For each engine 13
- Hiss hiss 13
- Horns inst horns inst 13
- I p dbfs i p dbfs damp damp 13
- If you have selected a compression type preset set the makeup gain to 12 o clock position 13
- In the stereo serial mode c300 is ideal for the following 3 different main applications 13
- Male vocal male vocal 13
- Metering metering 13
- Mono serial processing connect a mono signal to the c300 left input and listen on the c300 right output 13
- Now adjust the makeup gain for level compensation 13
- Percussive percussive 13
- Piano keyb piano keyb 13
- Program display input meters 13
- Select processing type for engines 1 and 2 bypass engine 2 for stereo single engine processing 13
- Set mix to 100 for conventional full signal processing or use a lower setting to utilize the parallel compression read more on parallel compression later in this manual 13
- Set routing to stereo serial 13
- Set threshold and ratio controls 13
- Snaredm snaredm 13
- Speech speech 13
- Stereo serial 13
- Stereo serial dual engine processing stereo in stereo out both engines processing this is a typical choice if you want to combine e g a de ess function with compression on vocals 13
- Stereo single engine processing stereo in stereo out bypass engine 2 by turning the mix control fully counter clockwise to byp 13
- Threshold threshold ratio ratio makeup makeup mix mix release release amount amount 13
- Toms dm toms dm 13
- Typical setups 13
- Vocal choir vocal choir 13
- Cables 14
- Type 1 14
- Type 2 14
- Cables 15
- Type 3 15
- Preset applications 16
- Preset application 17
- Preset application 18
- C300 processing 19
- Compression 19
- C300 processing 20
- Comp lim mode c300 20
- Gate expander mode c300 20
- C300 new style compression 21
- C300 processing 21
- Appendix 22
- Sw update 22
- Appendix 23
- Technical specifications 23
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