TC Electronic Triple C
DIGITAL MULTIBAND COMPRESSOR

by Barry Rudolph
  Perhaps the Triple C should be called a Triple Threat. It is a digital full-range compressor, multiband compressor and envelope compressor capable of extreme alteration of attack and release. TC Electronic comes through again with another useful and modern recording processor with some unique twists on the compression process.

TC Electronic Triple C

TC Electronic Triple C (click image for larger view)
The Triple C comes in two different single-rackspace versions: a $699 single-channel unit (the one I tested ran V. 1.02 firmware) and a stereo version at $999. Two single-channel versions can be stereo-linked, but the stereo unit cannot be “unlinked” for two separate compressors. The Triple C accepts and outputs audio either as analog with the back panel balanced TRS jacks, or digitally with a pair of S/PDIF RCA jacks. Maximum input analog level is +24 dBu, and maximum output is +20 dBu balanced. A/D conversion is 24-bit with 128x oversampling, and the digital output can be dithered to whatever bit depth is required. The unit clocks to the incoming digital source or is selectable to a 44.1 or 48kHz internal clock when the analog inputs are being used. There is full MIDI implementation that can be used to offload and store the 50 factory and 100 user compressor presets called Styles, as well as control all the unit’s parameters using Continuous Controller data.

Knobs, Not Buttons!
 All adjustments are made with knobs—yes, knobs! Thankfully, there are no up/down value buttons here, just knobs that, for the most part, have a single function each. The Input Level control has a range of -6 dB to +18 dB, and input and output levels are displayed on two small vertical VU meters at the left side of the comprehensive digital display. Clip indicators show both analog clip at the input or output and digital clip (i.e., one or more samples at or exceeding 0 dBFS).

The compact display includes a 3-band, horizontal linear gain reduction/output meter that ranges from -18 dB to +18 dB; a graphical display used for the Envelope compressor; “Override” (a means of matching front panel knob settings to values held in the currently selected preset); and status indicators for analog or digital input, sample rate, quality of sync lock to an external clock, and stereo link to another Triple C.

Below the display, a well-lit, 23-character digital readout identifies and changes automatically to the knob and value being adjusted—a nice feature. This readout also shows menus for I/O settings and dither options, factory and user compressor presets, and certain internal fixed compressor parameters, such as the crossover frequencies for the multiband compressor. These parameters are accessible via the large System parameter wheel, a dual-concentric knob that is pushed in to select various actions. It took me a while to learn how to navigate around the Triple’s system. However, after initial setup, I found little need to go there.

Professional Compressor
 Like any other professional compressor, the Triple C has the required Threshold, Ratio, Attack and Release knobs. Threshold adjusts from -40 dB to 0 dB, and Ratio ranges from 1:1 to 1: infinity. Attack time is adjustable from 0.2 ms to 70 ms, and Release goes from 20 ms to 2 seconds. The Triple C has a Look Ahead feature in Multi Band mode, allowing for more precision with complex compressor tasks. However, this mode necessitates that the output be delayed by 3 ms. The nominal A/D processing delay through the Triple is 0.7 ms and should be considered when processing one or more sources within a multiple microphone recording where phase integrity is very important. This delay, although slight, could affect phase coherency in this special recording situation.

The Triple C is an RMS compressor and can be switched into a peak compressor in Multi Band mode. Softlim, available in all modes, is a peak limiter that works like the version in the TC Finalizer unit and is pretty easygoing. Finally, a master Makeup gain control boosts or decreases the entire processed signal by ±18 dB after gain reduction, and it has a clever display: The entire VU meter slides to the left with less makeup or toward the right when more makeup gain is applied. Meanwhile, the meter continues to show gain reduction, making this the best compressor metering scheme I have ever seen.



Reprinted with permission from Magazine, January, 2001
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved


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