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Rane C4 (Rane C-4)
Quad Compressor
The C4 Quad Compressor / Limiter / Dynamic Equalizer presents matchless feature, performance and ergonomic value. 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, gain reduction and complete dynamic range at a glance.
Analog controls (knobs, sliders) allow a performer or sound engineer to make
precise adjustments in real time. Digital signal processing (DSP) provides a
degree of accuracy, consistency and flexibility that simply cannot be matched
with a traditional analog design.
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 EQ techniques which are difficult or costly to implement in traditional analog designs.
The C4 features auto balanced/unbalanced XLR and ¼" TRS input and output jacks, permitting connection to any mixing console. Side-chain inputs are also auto balanced/unbalanced, on ¼" TRS only. Dynamics processors typically connect using a mixing console’s insert points (send/return), although they can be used in-line, such as when compressing or limiting an overall mix, for example.
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’s sensitivity 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.