TC electronic SDN BHD Stereo Amplifier SDN BHD User Manual

TRIPLE•C  
MULTI-BAND COMPRESSOR & ENVELOPE  
SINGLE CHANNEL/STEREO CHANNEL VERSION  
USER’S MANUAL  
 
TABLE OF CONTENTS  
INTRODUCTION  
Table of Contents . . . . . . . . . . . . . . . . .3  
Introduction . . . . . . . . . . . . . . . . . . . . . .5  
Front Panel . . . . . . . . . . . . . . . . . . . . . .6  
Rear Panel . . . . . . . . . . . . . . . . . . . . . .8  
Signal Flow Diagram . . . . . . . . . . . . . . .9  
TRIPLE•C Setups . . . . . . . . . . . . . . . .10  
BASIC OPERATION  
The TRIPLE•C Display . . . . . . . . . . . . .12  
I/O Setup . . . . . . . . . . . . . . . . . . . . . .13  
Recall . . . . . . . . . . . . . . . . . . . . . . . . .15  
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . .15  
Store . . . . . . . . . . . . . . . . . . . . . . . . . .15  
COMPRESSION MODES  
Full-range Mode . . . . . . . . . . . . . . . . .16  
Multi-band Mode . . . . . . . . . . . . . . . . .18  
Envelope Mode . . . . . . . . . . . . . . . . . .20  
Sidechain Operation . . . . . . . . . . . . . .22  
Using Compression - A Guide . . . . . . .23  
APPENDIX  
Important Safety Instructions . . . . . . . .26  
MIDI Implementation . . . . . . . . . . . . . .28  
MIDI Control Changes . . . . . . . . . . . . .29  
Technical Specifications . . . . . . . . . . .30  
Preset List . . . . . . . . . . . . . . . . . . . . . .31  
TC Electronic, Sindalsvej 34, DK-8240 Risskov  
-
[email protected] English version Rev 1.02 - SW - V 1.01  
Prod. No: E60500421  
3
 
 
INTRODUCTION  
Congratulations on the purchase of your new TC Electronic TRIPLE•C Compressor  
The TRIPLE•C is a highly flexible Compressor especially designed for single source processing but with a great  
variety of applications. Whether your main tasks are live production or in the recording studios we are confident the  
TRIPLE•C will cover your needs when it comes to compression. Three compression modes will comply the  
flexibility needed when working with different program material such as vocals, drums, bass, guitar etc.  
The Multi-band mode allows compression and spectral balancing of three independent bands on any single  
source without getting into the usual problems of pumping and breathing.  
The Full-range mode, offers standard compression utilizing the feed forward principle known from  
various analog Compressors. The TRIPLE•C simulates the best from analog Compressors and provides  
top quality Full-band compression instantaneously.  
The Envelope mode allows changing the dynamic content of the incoming source material in its entire  
duration. This can be used for various kinds of dynamic shaping e.g. for extending the sustain source or  
adding more “click” to percussive material such as a bass drum. The Envelope mode will also apply  
in many Dance/DJ and more experimental types of music as a powerful tool of expression.  
• The Sidechain function allows an external source to either fully control or contribute to the control of the  
compression performed by the TRIPLE•C.  
The TRIPLE•C Stereo version can perform either as a two stereo Compressor or as a TRIPLE•C Single  
version with Sidechain option.  
Additionally the TRIPLE•C features all the best from the digital world such as factory and user presets,  
remote controllability via MIDI and Digital I/O.  
This manual covers both the TRIPLE•C Single Channel version as well as the TRIPLE•C Stereo Channel version.  
5
 
FRONT PANEL  
POWER key  
SYNC  
TRIG  
On/Off switch for the unit.  
Indicates the current clock of  
the TRIPLE•C. When locked to  
an external clock, the "DI" icon  
is lit and the incoming Sample  
Rate is displayed by either the  
44.1 or 48 icon.  
If no or unacceptable clock is  
available, the "Digital" and "DI"  
icons will be blinking.  
Indicates when the Envelope  
function is processing the  
incoming signal.  
INPUT LEVEL knob  
Adjusts the Input level.  
Range is -6dB to +18dB.  
LIMIT  
When the LIMIT LED is lit the  
Envelope Softclipper is active.  
INPUT/OUTPUT meters  
Peak meter showing Input and  
Output level. The meter range is:  
0, -3, -6 ,-12, -18, -24, -40dB.  
For the Stereo version this meter  
is common for both channels.  
MULTI-BAND OFF key  
Turns the Multi-band mode  
on/off i.e. activates the full  
band mode. When the LED is lit  
the Multi-band algo is inactive.  
LINK indicator  
Indicates that the unit is linked  
to a second TRIPLE•C.  
INPUT OVERLOAD LED  
The OVERLOAD LED indicates  
one of two situations: The Input  
level is too hot and therefore over-  
loading or there is an internal DSP blink.  
overflow. The OVERLOAD LED is  
MIDI  
PEAK SENSITIVE key  
When MIDI information is  
received the MIDI icon will  
The TRIPLE•C is basically an  
RMS based Compressor, mean-  
ing that it responds to average  
level of the incoming source  
material. This key turns the  
TRIPLE•C into a Peak based  
lit when 1 sample is @ 0dBFS.  
Gain Metering  
The Gain meter indicates the  
OUTPUT OVERLOAD LED  
Indicates that the Output is too  
hot. This will occur if e.g. too  
much gain has been added  
through the TRIPLE•C.  
total gain through the TRIPLE•C Compressor. When the LED is  
and simultaneously shows the  
gain reduction.  
lit the TRIPLE•C is in Peak  
mode. This feature is only  
available in Multi-band mode.  
Envelope Section  
The OVERLOAD LED is lit when  
1 sample is @ 0dBFS.  
Indicates the setting of the  
Envelope Mode. Please see  
Envelope chapter in the  
manual for further information.  
SOFTLIM key  
Activates/deactivates the Soft-  
Limiter in the Output section  
When the LED is lit, the Soft-  
Limiter is active.  
INPUT - Analog/Digital  
Indicates whether the TRIPLE•C is  
set to analog or digital Input.  
When set to digital Input, the  
Sample Rate automatically  
switches to DI. In case of no or  
unacceptable clock the "Digital"  
and "DI" icon will be blinking.  
6
 
FRONT PANEL  
LOOK AHEAD key  
RELEASE knob  
BYPASS key  
When in Multi-band mode the  
Look Ahead delay (3ms) can be  
activated allowing even more pre- bands are slaved accordingly.  
Multi-band mode: Sets the Mid  
band Release time. The Lo/Hi  
Bypasses all processing parameters  
but not the System settings found in  
the I/O menu. When the key LED is  
lit the TRIPLE•C is bypassed.  
cise processing.  
Full-range mode: Sets the  
Release time.  
THRESHOLD knob  
Envelope mode: Sets the  
Release time of the gain added to  
the ring-out of the source.  
LEVEL knob  
Multi-band mode: Sets the Mid  
band Threshold value. The Lo/Hi  
bands are slaved accordingly.  
Full-range mode: Sets the  
Threshold value.  
Sets the overall Make Up gain  
through the TRIPLE•C. This is used  
to compensate for gain loss in the  
Compressor. The absolute gain  
through the TRIPLE•C is displayed  
in the LCD by the fixed LED in the  
gain meter. Range: +/- 18dB.  
ENVELOPE MODE key  
Activates/deactivates the  
Envelope mode.  
Envelope mode: Sets the  
Threshold of the Envelope.  
LO-BAND knob  
RATIO knob  
Multi-band mode:  
MENU key  
Multi-band mode: Sets the Mid  
band Ratio value. The Lo/Hi  
bands are slaved accordingly.  
Full-range mode: Sets the  
compression Ratio.  
Adjusts the Output level of the  
processed Lo-Frequency band.  
Full-range mode: No function  
Envelope mode: Attack Gain.  
Push MENU and use the VALUE  
SET wheel to select menu.  
PARAMETER wheel  
Scrolls between parameters.  
Envelope mode: No function.  
HI-BAND knob  
Multi-band mode:  
VALUE SET/ENTER wheel  
Is used to change values.  
When pushed, actions such as  
Recall, Store etc. are approved.  
ATTACK knob  
Adjusts the Output level of the  
processed Hi-Frequency band.  
Full-range mode: No function  
Envelope mode: Release Gain.  
Multi-band mode: Sets the Mid  
band Attack value. The Lo/Hi  
bands are slaved accordingly.  
Full-range mode: Sets the Attack  
time.  
Envelope mode: Sets the Attack  
time of the gain added to the  
start-up of the source.  
7
 
REAR PANEL  
Single Version  
Balanced  
Jack  
Analog  
Inputs  
Balanced  
Jack  
Analog  
Outputs  
Digital  
S/PDIF  
Input/  
MIDI  
Pedal Input  
Power Serial no.  
Input  
In, Out, Thru for Bypass  
Output  
Stereo Version  
Balanced  
Jack  
Analog  
Inputs  
Balanced  
Jack  
Analog  
Outputs  
Digital  
S/PDIF  
Input/  
MIDI  
Pedal Input  
Power Serial no.  
Input  
In, Out, Thru for Bypass  
Output  
MIDI Cable  
Jack (unbalanced) - XLR  
Jack (balanced) - XLR  
DIN CONNECTOR  
5POLE - MALE  
45 degrees  
DIN CONNECTOR  
5POLE - MALE  
45 degrees  
Sleeve - Pin 1 (Ground)  
Tip - Pin 2 (Hot)  
Sleeve - Pin 3 (Cold)  
Sleeve - Pin 1 (Ground)  
Tip - Pin 2 (Hot)  
Ring - Pin 3 (Cold)  
max. 10m  
SHIELDED CABLE (3 or 5 wires + screen)  
TIP  
TIP  
RING  
GND  
GND  
8
 
SIGNAL FLOW  
9
 
TRIPLE•C - SETUPS  
Setting up the TRIPLE•C  
The TRIPLE•C is a very flexible unit and may be used in numerous different setups. Here are illustrations  
and explanations of some of the most common setups.  
TRIPLE•C in a Single Channel Insert  
• Use the send/return connections on a single channel  
on your analog mixer.  
• Use the analog Input/Outputs on the TRIPLE•C.  
• Set the TRIPLE•C Inputs to analog.  
TRIPLE•C in a Digital Insert  
• Connect the TRIPLE•C’s digital In/Out to a digital  
Send/Return on your mixer.  
• Use the TRIPLE•C as master clock by setting the  
Clock parameter in the I/O menu to 44.1kHz or 48kHz  
and the connected device/mixer to External.  
TRIPLE•C Stereo version in a Group Insert  
• Connect the TRIPLE•C Stereo in a group-insert on your  
mixer.  
• With this setup you are able to use compression on e.g.  
an entire drum-set or on backing vocals.  
Please note that if you route one or more channels  
on your mixer to both the Master Out and to a  
subgroup where a digital Compressor is inserted, you  
can experience an unwanted comb-filtering effect.  
10  
 
TRIPLE•C - SETUPS  
Setting up the TRIPLE•C  
EQ Insert in the TRIPLE•C Sidechain  
• Connect the TRIPLE•C Direct Out to the Input of the  
EQ and the EQ Output to the TRIPLE•C Input.  
• Set Sidechain to “On”.  
• The source signal passing the TRIPLE•C will not be  
directly influenced by the connected EQ unit, however  
the EQ will allow you to pinpoint the key frequencies  
that you want the Compressor to respond to.  
Side Chain “On”  
• Use the send/return connections on a single channel  
on your mixer.  
• Connect the Output of the channel you wish to  
contribute to(Add) or control(On) the compression.  
• Press MENU, select Ext Side using the PARAMETER  
wheel and select “Add” or “On” using the VALUE SET  
wheel.  
In the illustrated example the Bass drum channel will  
either contribute to, or control the compression applied  
on the Bass channel.  
Stereo Setup Using two TRIPLE•C Single Channels  
• Connect two TRIPLE•C Single Channel units as illustrated.  
• On both units:  
Press MENU, select “I/O Menu” using the VALUE SET  
wheel. Press ENTER, select “Link” using the  
PARAMETER wheel and set the Link parameter to “On.”  
• Connect MIDI Out from the unit you wish to be “master”  
to MIDI In on unit you want to operate as “slave”.  
• The units now operate as one stereo unit.  
All parameter adjustments performed on the “master”  
are now instantaneously copied to the “slave” unit.  
11  
 
THE TRIPLE•C DISPLAY  
Envelope  
Processing  
Overload LEDs  
Input Type  
Indicator  
Sync  
Indicator  
Gain  
Metering  
Limiter  
Indicator  
Envelope  
Setting  
Link Mode  
MIDI  
Override  
Absolute Gain  
Input Meter  
Output Meter  
Current Clock Status  
Alpha/Numeric Display  
Input/Output meters  
MIDI  
Peak meter showing Input and Output level. The Meter  
range is: 0, -3, -6 ,-12, -18, -24, -40dB.  
When MIDI information is received the MIDI icon will blink.  
Gain Metering  
Input Overload LED  
The Gain meter indicates the total gain through the  
TRIPLE•C and simultaneously shows the applied gain  
reduction.  
The OVERLOAD LED indicates one of two situations: The  
Input level is too hot and therefore overloading or there is  
an internal DSP overflow. The Overload LED is lit when  
1 sample is @ 0dBFS.  
Envelope Setting  
Indicates the setting of the Envelope Mode. Please see  
Envelope chapter for further information.  
Output Overload LED  
Indicates when the Output is too hot. This will occur if e.g.  
too much gain has been added through the TRIPLE•C.  
The Overload LED is lit when 1 sample is @ 0dBFS.  
Trig  
Indicates when the Envelope function is processing the  
incoming signal.  
Input - Analog/Digital  
Indicates whether the TRIPLE•C is set to analog or digital  
Input. When set to digital Input, the Sample Rate automati-  
cally switches to DI. In case of no or unacceptable clock  
the "Digital" and "DI" icon will be blinking.  
Limit  
When the LIMIT LED is lit the Softclipper is active.  
Override  
When recalling a preset it is most likely that eg. Threshold,  
Ratio, Attack and Release settings do not match the  
positions of the corresponding knobs on the front. When  
turning one of these knobs the current value is displayed in  
the display and the OVERRIDE LED will blink until you  
pass the “knob-position” that matches the actual parameter  
setting. When this “match-point” is passed the parameter  
can be adjusted.  
Sync  
Indicates the current clock of the TRIPLE•C. When locked  
to an external clock, the "DI" icon is lit and the incoming  
Sample Rate is displayed by either the 44.1 or 48 icon.  
If no or unacceptable clock is available, the "Digital" and  
"DI" icons will be blinking.  
Link indicator  
Indicates that the unit is linked to a second TRIPLE•C.  
12  
 
I/O SETUP  
Please note that when using internal clock with  
external digital audio, the incoming digital audio  
must be in sync with the TRIPLE•C internal clock in  
order to avoid slip-samples.  
I/O Setup  
In the I/O menu you will find all system related parameters  
such as Input/Output settings, analog/digital, Status Bit,  
Dither and various MIDI settings. For successful operation  
of the TRIPLE•C these parameters must be correctly set !  
"***Rate Mismatch****"  
This Error message will occur in the display if the TRIPLE•C  
detects slip-samples. Typically this problem only occurs in  
special clock setups e.g. if the TRIPLE•C is running via  
internal clock, while processing audio from the Digital Input.  
If the incoming clock and the internal clock does not match  
the TRIPLE•C will display the above written error message.  
To access the I/O menu  
• Press MENU.  
• Select I/O Menu using the VALUE SET wheel.  
• Press ENTER to enter I/O Menu.  
In the I/O Menu you select parameters using the  
PARAMETER wheel and you change values using the  
VALUE SET wheel.  
Out Range  
Range: 2dBu, 8dBu, 14dBu and 20dBu.  
Sets the maximum gain range of the analog Output stage.  
Input  
Select between Analog or Digital.  
Analog Out Level  
Adjusts the analog Output level. Range: 0 to -100dB  
Analog Input  
When "Analog" is selected the TRIPLE•C automatically  
defaults to the internal 44.1kHz clock as Sample Rate.  
Digital In Gain  
Adjusts the Digital In level. This parameter is only active  
when Digital In is selected.  
Digital Input  
When "Digital" is selected the TRIPLE•C attempts to lock to  
the S/PDIF Input. During the lock-up period the "DI" display  
icon blinks indicating none or unacceptable clock, and the  
Outputs are muted. When lock is achieved the "DI" icon  
turns solid, and the Outputs are un-muted.  
Dither  
Going from one type of bit resolution to a lower, e.g. from  
24 bit to 16 bit, you actually loose 8 bits of information.  
The process of cutting off bits is called truncation and it  
introduces digital distortion of low level signals, due to the  
lack of complete signal information. To compensate for this,  
dither must be applied. Dither is a small amount of filtered  
noise that generates randomization at the noise floor,  
thereby ensuring a less distorted low level signal.  
Dithering is relevant only on digital Outputs and it is always  
the receiving device that determines the number of bits you  
must dither to. A CDR or a DAT recorder should normally  
be dithered to 16 bit.  
Clock  
Analog Input  
When Input source is analog the following Sample Rates  
are available:  
Internal 44.1kHz - The TRIPLE•C runs at internal 44.1kHz.  
Internal 48kHz - The TRIPLE•C runs at internal 48kHz.  
Digital - The TRIPLE•C locks to the incoming digital clock.  
Digital Input  
Status Bits  
When Input Source is digital the following Sample Rates  
are available:  
Internal 44.1kHz - The TRIPLE•C runs at internal 44.1kHz.  
Internal 48kHz - The TRIPLE•C runs at internal 48kHz.  
Digital - The TRIPLE•C locks to the incoming digital clock.  
Sets whether the TRIPLE•C is sending out AES/EBU  
(professional standard) or S/PDIF (consumer standard)  
status bits.  
MIDI Channel  
Range: Off/1-16/Omni.  
Sets the responding MIDI channel of the TRIPLE•C.  
13  
 
I/O SETUP  
MIDI CC  
Range: On/Off.  
Determines whether the TRIPLE•C should respond to MIDI  
Continuous Controllers or not. On page 29 you will find a  
list of the TRIPLE•C Continuous Controllers.  
Program bank  
Determines which bank an external MIDI device will  
address in the TRIPLE•C when sending a program change.  
The options are: Factory, User or External.  
When External is selected controller #32 can be used to  
address either the Factory or the User bank.  
Factory bank:  
User bank:  
Controller #32=0  
Controller #32=1  
Bulk Dump  
Press ENTER to perform a total Bulk dump of all presets to  
an external MIDI device such as a MIDI sequencer.  
The TRIPLE•C is always ready to receive MIDI Bulk dump  
information.  
SysEx ID  
Determines the Sys-Ex ID number of the unit. All effects  
parameters; algo changes and routings can be changed  
through MIDI Sys-Ex via an external MIDI device. In order  
to define which unit the sent MIDI Sys-Ex information  
should reach, the appropriate ID number must be set.  
Link  
Range:On/Off  
Will link parameters between two Single Channel units  
when connected and used either in a Stereo Setup or in a  
Dual Mono setup.  
Please see page 22 for further explanation.  
View Angle  
Adjusts the LCD display backlight for better viewing  
comfort.  
14  
 
RECALL - EDIT - STORE  
Presets in general  
To rename a preset while storing:  
The TRIPLE•C holds 50 factory presets (ROM bank) and  
you are able store 100 additional user presets in the RAM  
bank. When scrolling through the presets you will locate  
the user presets after the 50 factory presets.  
• Press MENU.  
• Dial the VALUE SET wheel to until the display reads  
“Store”.  
• Press ENTER.  
• Select storing space using the VALUE SET wheel.  
• For altering the preset name; use the PARAMETER  
wheel to move cursor and the VALUE SET wheel to  
select character.  
• Press ENTER twice to store the preset with the new  
name.  
Recall  
To recall a preset:  
• Press MENU.  
• Dial the VALUE SET wheel until the display reads  
“Recall”.  
• Press ENTER.  
• Use any wheel to scroll through the 50 Factory and 100  
User presets. Until you have actually recalled a preset  
you are previewing. While previewing the preset name  
and number is blinking.  
• Press ENTER to recall a preset.  
The TRIPLE•C prompts "Recalled" for approximately  
one second and returns preset-name display.  
Edit  
To edit preset parameters:  
• Press MENU.  
• Select “Edit Menu” using the VALUE SET wheel.  
• Press ENTER.  
• Select parameter using the PARAMETER wheel and  
change values using the VALUE wheel.  
Store  
To store a preset with the same name:  
• Press MENU.  
• Turn the VALUE SET wheel until the display reads  
“Store”.  
• Press ENTER.  
• The TRIPLE•C suggests the first available RAM space  
as storing location but you can select any of the 100  
locations using the VALUE SET wheel.  
• Press ENTER twice to store.  
15  
 
FULL-RANGE MODE  
Full-range mode is the mode typically found in standard  
Attack  
Compressors. Threshold, Ratio, Attack and Release  
settings apply for the entire frequency area.  
The Attack time is the response time of the Compressor.  
The shorter Attack time the sooner the Compressor will  
reach the specified Ratio after the signal rises above the  
Threshold point.  
To select the Full-range Mode  
• ENVELOPE MODE key LED must be off/unlit.  
• MULTI-BAND OFF LED must be lit.  
Release  
The Release time is the time it takes for the Compressor to  
release the gain reduction of the signal after the signal  
drops below the Threshold point again.  
Input Section  
Input Level  
Adjusts the Input level of the TRIPLE•C. Play your source  
material through the TRIPLE•C and observe the Input  
meters in the display. Correct operation level is approx -6  
to -3dBs with an occasional peak at 0dB. If the Input signal  
at any time overloads, - reduce the Input level.  
Softlim  
Softlimiter on/off switch. Where the Compressor mostly is  
used to gradually reduce the dynamic content above the  
set Threshold point a limiter is used to directly avoid hitting  
the upper limit of 0dBFS. Compressors and limiters are  
often used in conjunction. - The Compressor as the musi-  
cal/gentle way of reducing the level and the limiter as a  
hard abrupt control to avoid distortion. See illustration.  
Dynamic Section  
In Full-range mode the controls in the Spectral  
adjust section have no effect.  
Look Ahead  
The Look Ahead delay function is not available in the  
Full-range mode  
Makeup Gain Section  
Bypass  
Press to bypass the TRIPLE•C. All processing parameters  
are bypassed. Input Level control and all System settings  
found in the I/O menu are not bypassed.  
Level  
Threshold  
When a signal is compressed, the maximum Output level  
of the signal is reduced. Since it is a reduction in dynamic  
content and not a gain-reduction that is the object of  
applying compression a make-up gain is necessary to lift  
the signal to appropriate level. Observe the gain reduction  
via the meters and lift the processed signal to approximately  
0dB using the Level knob in the Make Up Gain section.  
For detailed information please read the section on make  
up gain in the section called “Using Compression”.  
When the signal is above the set Threshold point the  
Compressor is activated and the gain of any signal above  
the Threshold point is processed according to the Ratio,  
Attack and Release settings.  
Ratio  
The Ratio setting determines how hard the signal is  
compressed. (see illustration above).  
Example: With a Ratio setting of 2:1 an Input signal at 4dB  
above Threshold is reduced to only 2dB on the Output-side.  
16  
 
FULL-RANGE MODE  
Edit Menu  
To enter the Edit menu  
• Press MENU.  
• Use the VALUE SET wheel to select the Edit menu  
and press ENTER.  
DRG - Digital Radiance Generator  
Range: 1-10  
With this parameter you can add second harmonic  
distortion. This is a commonly used tube-simulation that will  
add warmth to the signal.  
External Sidechain  
Range: Off, On, Add  
Determines how the TRIPLE•C should respond to the  
signal present on the External Sidechain.  
Off  
: This is the ”Normal” setting. The TRIPLE•C will  
only respond to the Input signal and not to any  
signal present on the Sidechain.  
On  
: The compression will be controlled only by the  
signal present on the Sidechain Input.  
Add : In this mode the TRIPLE•C will respond both to  
the Input signal and to the signal present on the  
Sidechain. The Input signal and the Sidechain  
signal are added for compression control.  
Please note that the signal present on the  
Sidechain Input under no circumstances is  
passed to the Outputs. The Sidechain Input is  
only for compression control.  
Hi X-Over, Lo X-Over and Comp Style parameters  
are ineffective in the Full Range mode.  
17  
 
MULTI-BAND MODE  
Multi-band mode - is a 3 band compression mode. By  
Attack  
dividing the source material into 3 frequency areas you can  
avoid that peaks at certain frequencies controls the  
compression of the entire signal. By setting the Lo and Hi  
Cross-over frequencies you determine the range of the  
Frequency areas.  
The Attack time is the response time of the Compressor.  
The shorter Attack time the sooner the Compressor will  
reach the specified Ratio after the signal rises above the  
Threshold point.  
Release  
To select Multi-band mode  
• ENVELOPE MODE key LED must be off/unlit.  
• MULTI-BAND OFF LED must be unlit.  
The Release time is the time it takes for the Compressor to  
release the gain reduction of the signal after the signal  
drops below the Threshold point again.  
Peak Type  
Input Section  
Input Level  
The TRIPLE•C is basically an RMS based Compressor,  
meaning that it responds to the average level of the incom-  
ing source material. This key turns the TRIPLE•C into a  
Peak based Compressor. When the key LED is lit the  
TRIPLE•C is in Peak mode. Peak mode is the general  
choice when processing percussive material. This feature is  
only available in Multi-band mode.  
Adjusts the Input level of the TRIPLE•C. Play your source  
material through the TRIPLE•C and observe the Input  
meters in the display. Correct operation level is approx  
-6 to -3dB with an occasional peak at 0dB. If the the Input  
signal at any time overloads - reduce the Input level.  
Dynamic Section  
Softlim  
Softlimiter on/off switch. Where the Compressor mostly is  
used to gradually reduce the dynamic content above the  
set Threshold point a limiter is used to directly avoid hitting  
an upper limit. Compressors and limiters are often used in  
conjunction. - The Compressor as the musical/gentle way  
of reducing the level and the limiter as a hard abrupt con-  
trol to avoid distortion. See illustration.  
Look Ahead  
Press to activate the 3ms Look-ahead delay. This gives an  
even better and more precise compression performance of  
the TRIPLE•C. - 3ms is approx the time it takes for sound  
to travel 1 meter.  
Spectral Adjust  
Threshold  
When the signal is above the set Threshold point the  
Compressor is activated and the gain of any signal above  
the Threshold point is processed according to the Ratio,  
Attack and Release settings.  
Lo-Freq & Hi-Freq Controls  
Applying the same Ratio, Attack and Release settings for  
both Lo, Mid and Hi bands will often result in an un-even  
Output frequency balance. With the Lo-Freq and Hi-Freq  
controls you can adjust the Output level of the Lo and  
Hi-Frequency bands.  
Ratio  
The Ratio setting determines how hard the signal is  
compressed. (see illustration above).  
18  
 
MULTI-BAND MODE  
Cross-over Freq - illustration.  
Makeup Gain  
Bypass  
Press to bypass the TRIPLE•C. All processing parameters  
are bypassed. Input level control and all system settings  
found in the I/O menu are not bypassed.  
Level  
When a signal is compressed the max Output level of the  
signal is reduced. Since it is a reduction in dynamic  
content and not a gain-reduction that is the object of  
applying compression a make-up gain is necessary to lift  
the signal to appropriate level. Observe the gain reduction  
via the meters and lift the processed signal to approx. 0dB  
using the Level knob in the Make Up Gain section.  
For detailed information please read the section on make  
up gain in the section called “Using Compression”.  
External Sidechain  
Range: Off, On, Add  
Determines how the TRIPLE•C should respond to the  
signal present on the External Sidechain.  
Edit Menu  
To enter the Edit menu.  
• Press MENU.  
• Use the VALUE SET wheel to select the Edit menu  
and press ENTER.  
Off  
: This is the ”Normal” setting. The TRIPLE•C will  
only respond to the Input signal and not to any  
signal present on the Sidechain.  
On  
: The compression will be controlled only by the  
signal present on the Sidechain Input.  
Add : In this mode the TRIPLE•C will respond both to  
the Input signal and to the signal present on the  
Sidechain. The Input signal and the Sidechain  
signal are added for compression control.  
Please note that the signal present on the  
Sidechain Input under no circumstances is  
passed to the Outputs. The Sidechain Input is  
only for compression control.  
Comp Style  
Various predefined Compression Styles can be selected.  
Evaluate the Source material and choose appropriate style.  
DRG - Digital Radiance Generator  
Range: 0 -10  
With this parameter you can add second harmonic  
distortion. This is a commonly used tube-simulation that will  
add warmth to the signal.  
Meters  
In Multi-band mode the meters indicates the applied  
compression in both the Lo, Mid, and Hi bands.  
Hi X-Over  
Range: 20Hz to 20kHz  
Sets the Hi Frequency Cross-over point.  
Lo X-Over  
Range: 20Hz to 20kHz  
Sets the Lo Frequency Cross-over point.  
19  
 
ENVELOPE MODE  
Envelope mode is a special feature of the TRIPLE•C that lets you control the entire compression process in detail allowing full  
control from the point where the Compressor starts modifying the signal until it releases its grip again.  
To select the Envelope mode  
• Press the ENVELOPE MODE key in the Spectral Adjust  
section.  
Attack (3)  
The Attack time is the time it takes for the Compressor to  
reach Threshold level again.  
Input Section  
Sustain Period (4)  
This is not an adjustable parameter. The signal is sustained  
at the Threshold level until the Input signal drops below the  
Threshold point (5).  
Input Level  
Adjusts the Input level of the TRIPLE•C. Play your source  
material through the TRIPLE•C and observe the Input  
meters in the display. Correct operation level is approx -6  
to -3dBs with an occasional peak at 0dB. If the the Input  
signal at any time overloads, - reduce the Input level.  
Release (6)  
The Release time Defines the time the Compressor  
continues to process the signal after the Input signal has  
dropped below Threshold.  
Dynamic Section  
Threshold (1)  
When the signal is above the set Threshold point the  
Compressor is activated and the gain of any signal above  
the Threshold point is processed according to the Attack  
and Release settings.  
Envelope Release Gain  
This is the gain applied to the signal after the signal has  
dropped below the Threshold point. This can be used e.g.  
to manipulate the sustain of the signal.  
Peak Type  
Envelope Attack Gain (2)  
Peak Type is not available in the Envelope mode.  
This is the level the signal will be boosted/attenuated to in  
0.1ms (fixed response time) when the signal exceeds the  
Threshold.  
20  
 
ENVELOPE MODE  
Softlim  
Edit Menu  
Softlimiter on/off switch. Where a Compressor mostly is  
used to gradually reduce the dynamic content above the  
set Threshold point a limiter is used to directly avoid hitting  
an upper limit. Compressors and limiters are often used in  
conjunction. - The Compressor as the musical/gentle way  
of reducing the level and the Limiter as a hard abrupt  
control to avoid distortion. See illustration.  
To enter the Edit menu  
• Press MENU.  
• Use the VALUE SET wheel to select the Edit menu  
and press ENTER.  
DRG - Digital Radiance Generator  
Range: 1-10  
With this parameter you can add second harmonic  
distortion. This is a commonly used tube-simulation that will  
add warmth to the signal.  
Makeup Gain  
Bypass  
Press to bypass the TRIPLE•C. All processing parameters  
are bypassed. Input Level control and all System settings  
found in the I/O menu are not bypassed.  
External Sidechain  
Range: Off, On, Add  
Determines whether the TRIPLE•C should respond to the  
signal present on the External Sidechain.  
Level  
When a signal is compressed the max Output level of the  
signal is reduced. Since it is a reduction in dynamic  
content and not a gain-reduction that is the object of  
applying compression a make-up gain is necessary to lift  
the signal to appropriate level. Observe the gain reduction  
via the meters and lift the processed signal to approx. 0dB  
using the Level knob in the Make Up Gain section.  
For detailed information please read the section on make  
up gain in the section called “Using Compression”.  
Off  
: This is the ”Normal” setting. The TRIPLE•C will  
only respond to the Input signal and not to any  
signal present on the Sidechain.  
On  
: The compression will be controlled only by the  
signal present on the Sidechain Input.  
Add : In this mode the TRIPLE•C will respond both to  
the Input signal and to the signal present on the  
Sidechain. The Input signal and the Sidechain  
signal are added for compression control.  
Please note that the signal present on the  
Sidechain Input under no circumstances is  
passed to the Outputs. The Sidechain Input is  
only for compression control.  
Hi X-Over, Lo X-Over and Comp Style are  
ineffective in the Envelope mode.  
21  
 
SIDECHAIN OPERATION  
The TRIPLE•C can be set up to use an external source as  
Stereo Link  
Sidechain Input to either control or contribute to the  
compression of the source material. The Sidechain modes  
allows the TRIPLE•C to react on either:  
Stereo Setup  
It is possible to use two TRIPLE•C Single Channel units as  
one stereo compressor where all parameters are linked.  
• The Sidechain Input only. (ON - mode)  
• A mix between the original Input and the Input present  
on the Sidechain. (ADD - mode)  
To acheive this:  
• Connect Direct Out of the “Master” TRIPLE•C to the  
Sidechain In of the “Slave” TRIPLE•C and vice versa  
(see illustration below).  
• Connect MIDI Out from the “Master” to MIDI In on the  
“Slave”.  
• Go to the I/O menu on both units and select Link “On”.  
The “Master” TRIPLE•C is now controlling all parameters of  
the “Slave” TRIPLE•C. With this setup the two units will  
operate as one stereo Compressor. Both units/channels  
will respond and compress the source material according  
to the signal present on both Input channels.  
To select the Sidechain mode:  
• Press MENU.  
• Select the “Edit menu” using the VALUE SET wheel and  
press ENTER.  
• Use the PARAMETER wheel to select “Ext Side” and the  
VALUE SET wheel to select Sidechain mode.  
Ext. Sidechain set to “ON”  
Over-writes the original source and takes full control of the  
responds of the Compressor. This can be used in various  
applications e.g. for inputting a spectrally shaped version of  
the original source, and thereby force the Compressor to  
respond to a certain frequency area.  
Dual Mono Setup  
To use two TRIPLE•C units in a dual-mono setup, no  
Sidechain connections should be made - only MIDI Out  
from the “Master” unit to MIDI In on the “Slave” unit.  
Select Link “On” in the I/O menu on both units and all  
parameters on the “Master” unit are now automatically  
copied to the “Slave” unit. The two units will respond only  
to their own Input.  
Ext. Sidechain set to “ADD”  
Mixes the signal present on the external Sidechain In with  
the original source material present on the Main Input.  
External EQ  
TRIPLE•C Stereo Channel  
When using the TRIPLE•C Stereo Channel version as a  
Single Channel Compressor with Sidechain use:  
• Left Input and left Output for source material processing.  
• Right Input for Sidechain Input.  
• Right Output for Direct Out.  
22  
 
USING COMPRESSION - INTRODUCTION  
Compression in general  
Compressors vs Limiters  
If you are an experienced user of audio Compressors you  
may want to skip this section, which is a general  
explanation of what Compressors do and how they are  
applied in audio production.  
Compression is generally used to reduce the dynamic  
content of an audio signal. Now, why is this necessary?  
Compared to the human ear any electronic reproduction of  
audio is limited by the available technology. Whereas the  
human ear has an incredible flexibility/dynamic range, let-  
ting you hear a pin dropping one moment, and an airplane  
taking off the moment after, - various physical limitations of  
the electronic components makes this type of flexibility  
impossible to achieve in audio reproduction.  
Electronic reproduction of sound has two limitations. In the  
low end, the signal level must be well above the base  
noise, also referred to as the “noisefloor” introduced by the  
electronic components. The upper limit is determined by  
the internal operating voltages. If exceeded, distortion will  
be the result. As a certain amount of headroom needs to  
be reserved for peaks in the audio material even less  
dynamic range is available. So, on one hand you would like  
to have as much headroom as possible, but at the same  
time avoid having the average level too close to the noise  
floor. This is where compression is applied. With the  
Compressor you control/reduce the peaks in the audio  
signal and the average level of the audio signal can be  
increased.  
Where the Compressor mostly is is used to gradually  
reduce the dynamic content above the set Threshold point  
a limiter is used to directly avoid hitting an upper limit.  
Compressors and limiters are often used in conjunction. -  
The Compressor as the musical/gentle way of reducing the  
level and the limiter as a hard abrupt control to avoid  
distortion/clipping.  
Multi-band Compression  
With multi-band Compressors such as the TRIPLE•C you are  
able to differentiate the compression on different frequency  
areas in the audio signal. The audio signal is split in to  
several frequency areas and you can obtain considerably  
better results when working with a complex signal with a  
wide frequency area. When working with an non-multi-band  
Compressor on e.g. a bass drum will invoke the Compressor  
to reduce the dynamic content of the entire signal when  
activated. This gives what it often referred to as the "pump-  
ing/breathing" effect. By splitting up the signal in to e.g. 3  
bands; low, mid and high and use different Threshold/Ratio  
settings on these bands a much better result can be  
achieved.  
However, there are times to use multi-band compression  
and times to use traditional full-range compression. The  
TRIPLE•C gives you both.  
The first type of Compressors (in the 1930's) were very  
simple constructions with two controllable parameters. With  
one of the two controls the user had to find a setting based  
upon an presumed average audio level of the material  
about to be processed. The other control (Ratio) specified  
the reduction of dynamic content in the entire signal that  
passed through the unit. This way the signal was com-  
pressed from both sides, low levels were increased by the  
same amount as the high levels were decreased.  
Modern Compressors uses a Threshold point. When the  
signal increases above the specified Threshold point the  
Compressor begins to reduce the Output signal by an  
amount set by the Ratio parameter. Once the signal drops  
below the Threshold point the Compressor stops interfering.  
23  
 
USING COMPRESSION  
Though you can say that using a Compressor in general is  
Release  
about reducing the dynamic content of a signal thereby  
having better control, there are many different angles on  
how to use compression. Depending on the specific  
application you may have different starting points and goals  
when you apply compression. As personal style also is a  
major consideration it is hard to give specific answers on  
how to use compression. However, here are some guide-  
lines.  
The Release time is the time it takes for the Compressor to  
release the gain reduction of the signal after the signal  
drops below the Threshold point again.  
Example:  
Threshold is set to -6dB  
Ratio is set to 2:1  
Attack is set to 10ms  
Release is set to 300ms  
First a short description of the basic parameters.  
A relatively loud musical phrase reaches -2dB on the Input.  
As the Threshold is set to -6dB, 4dB of the signal will be  
processed. The Ratio of 2:1 means that each of the 4dBs  
above Threshold will be reduced to 0.5dB. So, the 4dB above  
Threshold on the Input side will be reduced to only 2dB on  
the Output. This gain-reduction is reached in 10ms which is  
specified by the Attack time. When the Input signal drops  
below the Threshold (-6dB) again, the Compressor ceases  
to process/reduce the Output signal. The Release time  
specifies how long it will take until no processing is taking  
place.  
Illustration  
Spectral Adjust Section  
Selecting Full-range or Multi-band mode  
Evaluate the frequency range of the source material. If your  
source material has a wide frequency range with peaks in  
specific frequency areas, the Multi-band mode should  
probably be your choice. If on the other hand you are  
working on e.g a repeating back-up vocal harmony within a  
relatively small frequency area the Full range mode would  
apply perfectly.  
Better Definition of Vocal material  
Dynamic Section  
If the object is to define the Source material e.g a voice a  
gentle compression would be appropriate. By delicately  
controlling the peaks of the signal you are able increase  
the overall level of the signal and the low level content of  
the signal will be increased. Try using a high Threshold  
setting to keep the dynamic content of the signal and to  
avoid processing the entire signal all the time. A low to  
medium Ratio and Attack setting will give you the soft and  
often desired compression used when working with vocals.  
Threshold  
When the signal rises above the set Threshold point the  
Compressor is activated.  
Ratio  
The Ratio setting determines how hard the signal is  
compressed.  
Attack  
The Attack time is the response time of the Compressor.  
The shorter Attack time the sooner the Compressor will  
start to work after the signal rises above the set Threshold.  
Guideline Settings  
Ratio: 2:1  
Attack: 10ms  
Release: 200ms  
24  
 
USING COMPRESSION  
Hard Compression of Vocal Tracks.  
The meters on the TRIPLE•C are excellent tools to achieve  
this. Lets have a closer look at the meters.  
By compressing vocal source material hard a very distinct  
and precise but less dynamic track will be the result. For  
this purpose we need the Compressor to work practically  
all the time. Therefore the Threshold must be set rather  
low, the Ratio rather high and the Attack time short. The  
release time setting again depends on what it is you would  
like to achieve. If you with this “hard compression scenario”  
wishes to hear e.g. the singer taking the next breath in  
between his/hers actual singing a short Release time  
should be your choice. A long release time on the other  
hand would compensate for this  
When no signal passes through the unit the gain is  
illustrated like this:  
Guideline Settings  
Ratio: 5-6:1  
Attack: 5ms  
Try turning the Make-up Level knob to change the level.  
If no compression is applied you are now actually changing  
the Output level.  
Release: 100ms  
When the signal is processed/compressed the Output level  
is reduced. The amount of gain reduction/compression  
applied is illustrated via the via the meters like this:  
(example in Multi-band mode)  
Controlling Percussive Material  
When using compression on e.g. a snare drum entirely  
different aspects are to be taken in consideration compared  
to vocal processing. A drum has a sharp attack but almost  
no durance. For the Compressor to take effect at all a  
really short Attack time is essential. The Threshold can be  
set relatively low as you probably want to process all snare-  
drum hits. The Ratio setting for this application is really  
where you can add different characteristics on the signal.  
The higher a Ratio setting the more flat but distinct a sound  
you can create. Too high a Ratio setting allows only a small  
amount of the source materials original characteristics to  
be maintained.  
To achieve the same Output level on the processed signal  
as on the unprocessed signal simply turn up the Makeup  
Gain level knob until the max gain reduction is at the 0dB  
marker.  
Guideline Settings  
Ratio: 4:1  
Attack: 1.0 ms  
Release: 100ms  
This will look approximately like this :  
Makeup Gain  
When a signal is compressed the max Output level of the  
signal is reduced. Since it is a reduction in dynamic  
content and not a gain-reduction that is the object of  
applying compression a make-up gain is necessary to lift  
the signal to appropriate level.  
Also when using the bypass function for comparing the  
unprocessed signal with the processed signal equal level  
for these modes is essential.  
This is how easy it is to apply Make-up gain using the  
TRIPLE•C.  
25  
 
IMPORTANT SAFETY INSTRUCTIONS  
Please read, keep, and follow these instructions before connecting this unit. Heed all warnings and instructions.  
Retain this notice and the owner´s manual for future reference.  
The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of  
uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of  
electric shock to persons.  
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and  
maintenance (servicing) instructions in the literature accompanying the product.  
Warning!  
To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture.  
• Do not open the unit - risk of electric shock inside.  
• This apparatus must be earthed.  
• Use a three wire grounding type line chord like the one supplied with the product.  
• Be advised that different operating voltages require the use of different types of line cord and attachment plugs.  
If in doubt please contact your TC distributor.  
• Check the voltage in your area and use the correct type. See table below:  
Voltage  
110-125V  
220-230V  
240V  
Line plug according to standard.  
UL817 and CSA C22.2 no 42.  
CEE 7 page VII, SR section 107-2-D1/IEC 83 page C4.  
BS 1363 of 1984. Specification for 13A fused plugs and switched and un-switched socket outlets.  
• Mount in a well ventilated rack with a little space above and below.  
• This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible.  
• Do not install near heat source, such as radiators, heat registers, stoves or other apparatus.  
(including amplifiers) that produce heat.  
• Do not rely solely on the front screws when mounted in touring rack. Support the back as well.  
• Clean only with a damp cloth.  
• Do not defeat the safety purpose of a polarized or grounding type plug. A polarized plug has two blades  
with one wider than the other. A grounding type plug has two blades/prongs and a third grounding prong. The wide  
blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet,  
consult an electrician for replacement of the obsolete outlet.  
• Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles, and the  
point where they exit from the apparatus.  
• Only use attachments/accessories specified by the manufacturer.  
• Unplug this apparatus during lightning storms or when unused for long periods of time.  
26  
 
IMPORTANT SAFETY INSTRUCTIONS  
Service  
There are no user-serviceable parts inside. All service must be performed by qualified personnel. Servicing is required when:  
• the unit has been damaged in any way, such as when the power-supply cord or plug is damaged.  
• the unit has been exposed to rain or moisture, or liquid has been spilled into the unit.  
• objects have fallen into the unit.  
• the unit does not work properly.  
• the unit has been dropped.  
This equipment has been tested and found to comply with  
the limits for a Class B Digital device, pursuant to part 15  
of the FCC rules.  
For the customers in Canada:  
This Class B Digital apparatus meets all requirements of  
the Canadian Interference-Causing Equipment Regulations.  
Cet appareil numérique de la classe B respecte toutes les  
exigences du Réglement sur le matériel brouilleur du  
Canada.  
These limits are designed to provide reasonable protection  
against harmful interference in a residential installations.  
This equipment generates, uses and can radiate radio fre-  
quency energy and, if not installed and used in accordance  
with the instructions, may cause harmful interference to  
radio communications. However, there is no guarantee that  
interference will not occur in a particular installation.  
If this equipment does cause harmful interference to radio  
or television reception, which can be determined by turning  
the equipment off and on, the user is encouraged to try to  
correct the interference by one or more of the following  
measures:  
Certificate Of Conformity  
TC Electronic A/S, Sindalsvej 34, 8240 Risskov,  
Denmark, hereby declares on own responsibility that  
following product:  
TRIPLE•C  
MULTI-BAND COMPRESSOR & ENVELOPE  
- that is covered by this certificate and marked with CE-  
label conforms with following standards:  
• Reorient or relocate the receiving antenna.  
• Increase the separation between the equipment and  
receiver.  
• Connect the equipment into an outlet on a circuit different  
from that to which the receiver is connected.  
• Consult the dealer or an experienced radio/TV technician  
for help.  
EN 60065  
(IEC 60065)  
Safety requirements for mains  
operated electronic and related  
apparatus for household and similar  
general use  
EN 55103-1  
EN 55103-2  
Product family standard for audio,  
video, audio-visual and entertainment  
lighting control apparatus for  
The user may find the following booklet, prepared by the  
Federal Communications Commission, helpful:  
"How to identify and Resolve Radio/TV interference  
Problems."  
This booklet is available from the US. Government Printing  
Office, Washington, DC 20402, Stock No. 004-000-0034-4.  
professional use. Part 1: Emission.  
Product family standard for audio,  
video, audio-visual and entertainment  
lighting control apparatus for  
professional use. Part 2: Immunity.  
Caution:  
You are cautioned that any change or modifications not  
expressly approved in this manual could void your authority  
to operate this equipment.  
With reference to regulations in following directives:  
73/23/EEC, 89/336/EEC  
Issued in Risskov, September 2000  
Anders Fauerskov  
Chief Executive Officer  
27  
 
APPENDIX - MIDI IMPLEMENTATION CHART  
MULTI-BAND COMPRESSOR & ENVELOPE  
SINGLE CHANNEL/STEREO CHANNEL VERSION  
Function  
Transmitted  
Recognized  
Basic Channel  
Default  
Changed  
1
1-16  
1
1-16  
Mode  
Default  
Messages  
Altered  
X
X
Note Number  
Velocity  
X
X
X
X
X
X
X
X
X
X
X
X
X
X
True Voice  
Note ON  
Note OFF  
Key’s  
After Touch  
Pitch Bend  
Ch’s  
Control Change  
Prog Change  
X O  
O
X O  
O
System Excl.  
Common  
O
X
X
X
X
X
X
X
O
X
X
X
X
X
X
X
X
X
Song Pos  
Song Sel  
Tune  
System real time  
Aux Messages  
Clock  
Commands  
Local ON/OFF  
All Notes OFF  
Active Sense  
Reset  
X
X
Clock  
Not recognized  
O: YES  
X: NO  
Mode 1: OMNI ON, POLY  
Mode 3: OMNI OFF, POLY  
Mode 2: OMNI ON, MONO  
Mode 4: OMNI OFF, MONO  
28  
 
APPENDIX - MIDI CONTROL CHANGES  
Using any standard MIDI device to transmit Continuous Controllers you are able to control various parameters in the  
TRIPLE•C. Please refer to the manual of the sending device on how to set up the Controller numbers.  
Parameter Names  
In Level  
Out Level  
Digital In Gain  
Bypass  
MIDI CC  
16  
17  
18  
20  
Threshold  
Ratio  
Attack  
48  
49  
50  
51  
52  
53  
54  
release  
L-Freq Level  
Hi-Freq Level  
Level  
Style  
DRG  
Hi X-Over  
Lo X-Over  
Ext. Sidechain  
55  
56  
57  
58  
59  
Multi-band  
Peak Type  
Soft Limiter  
Look Ahead Delay  
Envelope  
60  
61  
62  
63  
64  
29  
 
APPENDIX - TECHNICAL SPECIFICATIONS  
Digital Inputs and Outputs  
General  
Connectors:  
RCA Phono (S/PDIF)  
Finish:  
Anodized aluminum front  
Formats:  
S/PDIF (24 bit), EIAJ CP-340, IEC 958  
HPF/TPDF dither 24/20/16/8 bit  
44.1 kHz, 48 kHz  
0.1 ms @ 48 kHz  
(excl. optional look-ahead delay)  
DC to 23.9 kHz ± 0.01 dB @ 48 kHz  
Plated and painted steel chassis  
Output Dither:  
Sample Rates:  
Processing Delay:  
Display  
Dimensions:  
Weight:  
23 character / 280 icon STN-LCD display  
19" x 1.75" x 8.2" (483 x 44 x 195 mm)  
4.1 lb. (1.85 kg)  
Frequency Response DIO:  
Mains Voltage:  
100 to 240 VAC, 50 to 60 Hz (auto-select)  
Analog Inputs  
Connectors:  
Impedance, Bal / Unbal:  
Max. Input Level:  
Min. Input Level for 0 dBFS:  
Sensitivity:  
A to D Conversion:  
A to D Delay:  
Dynamic Range:  
THD:  
Power Consumption:  
Warranty Parts and labor:  
<15 W  
1 year  
1/4" phone jack, balanced  
21 kOhm / 13 kOhm  
+24 dBu  
0 dBu  
@ 12 dB headroom: -12 dBu to +12 dBu  
24 bit, 128 x oversampling bitstream  
0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz  
100 dB typ, 20 Hz - 20 kHz  
typ < 92 dB (0,0025 %) @ 1 kHz  
+0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz  
<-95 dB, 20 Hz to 20 kHz  
Frequency Response:  
Crosstalk:  
Analog Outputs  
Connectors:  
1/4" phone jack, balanced  
Impedance Balanced/  
Unbalanced:  
40 Ohm  
Max. Output Level:  
Output Ranges:  
+20 dBu (balanced)  
Balanced: 20/14/8/2 dBu  
Unbalanced: 14/8/2 dBu  
D to A Conversion:  
D to A Delay:  
Dynamic Range:  
THD:  
24 bit, 128 x oversampling bitstream  
0.63 ms / 0.68 ms @ 48 kHz / 44.1 kHz  
104 dB typ, 20 Hz to 20 kHz  
typ <-94 dB (0.002 %) @ 1 kHz,  
+20 dBu Output  
Frequency Response:  
Crosstalk:  
+0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz  
<-100 dB, 20 Hz to 20 kHz  
EMC  
Complies with:  
EN 55103-1 and EN 55103-2  
FCC part 15, Class B, CISPR 22, Class B  
Safety  
Certified to:  
IEC 65, EN 60065, UL6500 and CSA E65  
Environment  
Operating Temperature:  
Storage Temperature:  
Humidity:  
32° F to 122° F (0° C to 50° C)  
-22° F to 167° F (-30° C to 70° C)  
Max. 90 % non-condensing  
Control Interface  
MIDI:  
Pedal:  
In/Out/Thru: 5 Pin DIN  
1/4" phone jack  
Technical Specifications are subject to change without notice !  
30  
 
PRESET LIST  
The Tripple•C holds 50 factory presets. The preset names and locations are listed below.  
In addition you can store up to 100 of your own presets in the User bank.  
1
2
3
4
5
6
7
8
9
Triple-C Comp  
26 Background Voc’s  
27 BG’s Heavy Comp  
28 Light Speak Comp  
29 Tube Speak Comp  
30 Tube Vocal Comp  
31 FB Vocal Comp  
32 FB Subtle Comp  
33 FB Vintage Comp  
34 FB Breath Comp  
35 FB Rapin’ Comp  
36 FB Speak Comp  
37 FB Bass Comp  
38 FB Funky GTR  
39 FB Snare Comp  
40 FB Drum Comp  
41 ENV Snappy Snare  
42 ENV No Attack  
43 ENV Short Gated  
44 ENV Sustainer  
Light Female Voc  
Medium Female  
Heavy Female Voc  
Light Male Voc  
Medium Male Voc  
Heavy Male Voc  
De-Essed Female  
De-Essed Male  
10 Subtle Vocal Com  
11 Bright Vocal  
12 Bass Compressor  
13 Tube Bass Comp  
14 Fast Bass Comp  
15 Light GTR Comp  
16 Rhythm GTR Comp  
17 Natural GTR Comp  
18 Snare Comp  
19 Bright Snare  
20 Bassdrum Comp  
21 Slow BD Comp  
22 Drumkit Comp  
23 Heavy Drum Comp  
24 Saxophone Comp  
25 Horns Hit Me !!  
45 ENV Inverse SN  
46 ENV Broken Comp  
47 ENV Click Kick  
48 ENV Slapback SN  
49 ENV Slap & Snap  
50 Break That Beat  
31  
 

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