Operation:
- Fast attack and limit settings for protective limiting.
- Crush mode gives f.e.t 'overcompression' with tailored frequency response, and higher distortion, for 'huge' dynamic effects.
- External sidechain inputs, (for ducking etc.)
- Power fail bypass for broadcast or live sound.
- Ratios 1.5:1, 2:1, 3:1, 4:1, 10:1 and Limit.
- Attack 0, 0.1, 0.3, 1, 3, 10, and 30 m/sec.
- Release 0.1, 0.3, 0.6, 1.2, and 2.4 seconds.
Options:
- External fader level control input, (to order) (stereo mastering etc).
- Extra dual channel slave units, for multichannel applications, (film / surround formats etc.).
Sidechain High Pass filter cables:
Reduces sensitivity to low frequency compression. The C2 input is split through 150Hz -6dB/octave High Pass filter to feed the External Sidechain input. The C2 operates as normal, untill the 'External Sidechain' switches selected. (External signals can still be connected if required, with or without the filters)
Priced at UK£30 per a pair of cables (one per channel).
Circuitry:
- New generation of Voltage Controlled Amplifiers.
- High slew rate amplifiers, with hybrid f.e.t/ transistor inputs (Analog Devices).
- High current push-pull transistor outputs.
- Total symmetry throughout signal path.
- No electrolytic capacitors used in main signal path.
- All inputs and outputs balanced.
C2 Family Specifications:
- Power: 100v-240v AC selectable, 30 watts.
- Noise floor: Below -104 dBm (flat 20Hz-20Khz).
- Distortion: Below 0.005% (1K/+4 THD 20Hz-20Khz)
- Frq. Response: Within 1/2dB from 20Hz to 100Khz.
- Depth in rack: 258mm.
- Main input: Balanced, impedance 1K8 per leg.
- Sidechain i/p: Balanced, impedance 10K per leg.
- Output: Discrete transistor. Above +26dBm into 600 ohm load.
- Threshold: Adjustable -20 to +20dBm.
- Make-up gain: Adjustable 0 to +20dBm.
C2 Film/Multichannel Systems:
In a normal C2 unit, when in 'Stereo' mode, the left channel front panel controls become the masters for both the left and right audio paths, and the right hand controls become inactive. Both audio paths are 'sensed', the result processed, and then acted on equally to eliminate image shift (so a 'peak' on either channel results in the compression of both). By extension of this method, in a multichannel system, the master set of controls can be interlinked to sense and control any number of audio channels where image shift would otherwise be a problem. When 'stereo'or 'left master' mode is selected, the left hand front panel controls become the masters for all channels in the system.
A multichannel system comprises a master C2 or C2M unit, to which is added one additional remote controlled 1RU audio rack per pair of extra channels needed. A four channel system would therefore need one master C2 (or C2M), and one C2R (remote C2). The system can be extended as needed, for more or less channels, or the additional channels unplugged and the master unit used on its own functioning as a normal unit (the only difference being that the 'sidechain' XLR connectors on the rear panel are changed to multipin types for additional control lines to and from the C2R chain). As an example for film mix formats this can be used to build a system with three interlinked channels for L-C-R to avoid image shifting, with suround L-R handled by a second pair of channels. Sub bass can be either processed separately or combined with the surround channels.
This approach has been adopted for two reasons: first as the most adaptable in allowing for different choices of mix formats and the ability for additional C2R channel capacity to 'float' between control rooms or be purchased as needed, and second because of being able to offer the C2R unit at a more reasonable sale price than a complete unit. In allowing for the above configuration, we have also provided for further customisation. The master C2 unit has an external fader input, and we would be happy to discuss any further modifications required.
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