C2 Quick Reference

THINGS YOU NEED TO KNOW…

ü BOLD MEANS HOLD!

Any functions that would produce possible
unexpected level changes at the outputs
are protected by a ‘press and hold’ action
and printed in BOLD on the panel. These
functions are:
Switching AUTOmatic time constants on
and off;
Changing MODE between compressor
and De-EQ;
Enabling the sidechain LISTEN function;
Ganging the two channels together in
STEREO mode.

ü The meters show level, in dB, from

the clipping point of the unit –
when the METER switch is set to
‘IN’ the meters show level, in dB,
from clipping the input converter.
Set to ‘OUT’ they show headroom
available at the output – the DAC.

ü When in De-EQ mode, the

sidechain filter GAIN control will
not function, as it is dynamically
adjusted according to the
threshold.

ü The De-EQ mode LED always

flashes when this mode is enabled.

ü The Listen LED always flashes

when Listen is enabled. Listen is
automatically turned off if the unit
is switched off and on

ü When a channel is bypassed, all its

metering and status LEDs will dim.
All metering will continue to
function.

Page 2 C2 Operators Manual

Contents

C2 Quick Reference 2

Important Safety Information 4

Thanks 5

Unpacking the C2 5

Introduction 6
Features 6

Front Panel Familiarisation 7

Rear Panel Connections 9

Operating the C2 10
Switching the unit on and start-up procedure 10
Press-and-hold Keys 10
Minimum and maximum control positions 10

Compression – What It Is and What It Can Do 11

What does a Compressor do? 11
Why are Compressors necessary? 11
How does a Compressor work? 12
What makes the XTA Compressor different? 13

C2 Configurations 14
Compressor Mode 16
DE-Eq Mode 17

Sidechain Equalisation – How and When to Use it 18

When would Sidechain EQ be useful? 18
De-essing and de-popping. 18
Maximising loudness without dulling the mix. 18
How would sidechain EQ normally be implemented? 19

Why is the De-EQ mode so useful? 20

Look Ahead Delay – Pre-emptive Action 21

Setting the Attack and Release times 24

The Compressor ‘Knee’ Control. 24
Using the AUTO system 26
STEREO Linking 26

Operating Notes 27
Operating Level 27
Grounding 27

Specifications 28

Warranty 29

Options and Accessories 29

C2 Operators Manual Page 3
 An example of this equipment has been tested and found to comply with
the following European and international Standards for Electromagnetic
Compatibility and Electrical Safety:

Radiated Emissions (EU): EN55013-1 (1996)

RF Immunity (EU): EN55103-2 (1996) RF Immunity, ESD, Burst Transient,
Surge, Dips &Dwells
Electrical Safety (EU): EN60065 (1993)

Important Safety Information

Do not remove Covers.
No user serviceable parts inside, refer servicing to qualified service personnel.
This equipment must be earthed.

CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
DO NOT EXPOSE TO RAIN OR MOISTURE

ATTENTION
RISQUE DE CHOC ELECTRIQUE
NE PAS ENLEVER
NE PAS EXPOSER A LA PLUIE NI A L’HUMITE

It should not be necessary to remove any protective earth or signal cable shield connections.
Do not defeat the purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third
grounding prong. The wider blade and 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.
Only use this equipment with an appropriate mains cord.
In the USA the cord should comply with the requirements contained in the Standard for Cord
Sets and Power Supply Cords, UL 817, be marked VW-1, and have an ampacity rating not less
than the marked rating of the apparatus.

Page 4 C2 Operators Manual

Thanks

Thank you for choosing the XTA C2 Dual Compressor for your application. Please
spend a little time reading through this manual, so that you obtain the best possible
performance from the unit.
All XTA products are carefully designed and engineered for cutting-edge
performance and world-class reliability. If you would like further information about
this or any other XTA product, please contact us.
We look forward to hearing from you in the near future.

Unpacking the C2

After unpacking the unit, please check it carefully for any damage. If any is found,
immediately notify the carrier concerned - you, the consignee, must instigate any
claim. Please retain all packaging in case of future re-shipment.

C2 Operators Manual Page 5

Introduction

The C2 is a powerful DSP based audio dynamics processor, ideally suited for live
sound applications, where it combines the accessibility and immediacy of a pure
analogue design with the quality and accuracy of a digital design in a compact 1U unit.
To achieve this, the C2 has an analogue control surface, following the ‘one control –
one function’ philosophy and a pure digital signal path, with 24-bit conversion, 40-bit
internal processing and a professional 48kHz sampling rate.

The C2 is also available with optional AES/EBU digital inputs and outputs.

Features

♦ Look ahead attack available on the compressor for instantaneous

control of transients

♦ Automatic time constants which are intelligently adjusted depending on

the setting of other controls (namely the sidechain EQ frequency when in
De-EQ mode)

♦ Sidechain EQ built-in for the compressor - switchable to lo/hi shelf

and wide/narrow parametric, with variable stepped gain and high-resolution
frequency adjustment.

♦ De-EQ mode - an extension of traditional De-Essing where the sidechain

filter band not only affects the sensitivity of the compressor at certain
frequencies, but also only compresses around those frequencies.
De-Essing, and De-Popping, and any other band reduction in power as
required.

♦ Digitally accurate metering with indication of closeness to compression

threshold.

♦ Independent limiter section with metering.

♦ Stereo mode, where both channels are linked and track 100% accurately.

♦ AES/EBU Digital input and output interfaces are available as an option.

♦ Input and output balancing transformers are also available as an option.

Page 6 C2 Operators Manual

Front Panel Familiarisation

Level Meter: Dependant on the setting of the

‘METER’ switch, this will display the
instantaneous available headroom, at either
the input to the channel (analogue to digital
converter) or the output from the channel,
post limiter (digital to analogue converter).

Active Key: Switches the entire channel on/off – LED illuminated when processing is
active. All metering and status LEDs for the channel dim when the channel is
bypassed.
Threshold Control: Set the threshold at which compression will begin, from
-30dBu to +22dBu (effectively off).
Meter Key: Select what the level meter shows – either input headroom or output
headroom. Still active even when the channel is bypassed.

Ratio Control: Set the degree of compression to take place, once

the signal exceeds the threshold, from 1:1 (no compression) to 16:1
(very heavy compression)
Knee Key: Cycles through ‘Hard’ knee (compression begins at the
selected ratio as soon as the threshold is exceeded), ‘Medium’
(compression is less pronounced just above threshold), and ‘Soft’
knee (compression is least pronounced until well over threshold).

Gain Reduction Meter: Green LEDs show 6dB and

3dB below the threshold of compression, with the yellow
LED illuminating as the threshold is reached. The
remaining red LEDs indicate progressively more gain
reduction (compression) up to 24dB.
AUTO Key: Enable the automatic time constants – in
compressor mode these are preselected to provide
transparent compression in as many situations as possible. In De-EQ mode, time
constants track the filter frequency.
Attack Control: Adjust how quickly compression starts after threshold is exceeded.
The [-60uS] setting uses ‘look-ahead’ delay to preempt the signal going over the
threshold and so prevents any overshoot.
Release Control: Adjust how quickly the gain reduction decreases once the signal
drops below the threshold again.

C2 Operators Manual Page 7

 Make-up Gain Control: Apply extra gain to compensate for the
compression gain reduction, helping to maintain the signal at its
original level.
MODE Key: Switch between normal compression mode, and De-
EQ mode, where only the frequency band selected with the sidechain
EQ is monitored and compressed.

Sidechain EQ Type: Choose the shape of the sidechain

filter moving between, from top to bottom, high shelf;
narrow ‘Q’ parametric; ‘wide ‘Q’ parametric; low shelf.
Sidechain EQ Frequency: Select the frequency range
over which the sidechain filter will operate – this will be
the centre frequency of the filter in parametric mode, or
the corner frequency of the filter in shelf mode.
LISTEN Key: Switches the output of the sidechain filter into the main signal path,
so that the required range of frequencies may be more easily selected. LED flashes as
a reminder that this is selected.
Sidechain EQ Gain Key: Adjust the gain of the sidechain filter to sensitise or
desensitise the compressor. +6/9/15 of gain is available, as well as 0db (off).

Limiter Threshold Control: Set the threshold for the onset of

limiting – effectively bypass the limiter by setting the threshold to
+22dB.
Limiter Activity Meter: Yellow LED illuminates when the
threshold is reached, with the red LED indicating 4dB into
limiting.

STEREO Key: Enabling the ‘Stereo’ mode will disable the right hand set of controls
and force both channels to assume the parameter values of the left channel. The
sidechains are also linked so that the two channels track perfectly, maintaining the
stereo image.

Page 8 C2 Operators Manual

Rear Panel Connections

Power Switch: turns the units mains supply off

and on.
Mains Fuse: located in a finger-proof holder
adjacent to the mains inlet. A spare fuse is also
located in this holder.
Mains Inlet: connected via a standard IEC socket.

Audio In-Out: 3 pin XLR sockets are provided for each

channel. All are fully balanced, pin 2 hot, 3 cold, 1
screen.

Always replace the fuse with the correct type and rating as
shown on the rear panel legend.

C2 Operators Manual Page 9

Operating the C2

Operation of the C2 is very straightforward, but there are a few points worth noting
which, once understood, will make using the unit even easier.

Switching the unit on and start-up procedure

After plugging in the power and switching the power on suing the rear panel switch,
confirmation is quickly given that all is well by various status LEDs illuminating almost
immediately after power-up. These will include, as a minimum, METER (In/Out);
MODE (COMP/De-EQ); and Sidechain EQ Type (Hi/Lo shelf etc.).

The gain reduction will fully illuminate and, after the bypass relays disengage, begin to
‘count down’ accompanied by the output level fading up to normal operating level.
The entire process is complete when the input/output meters and gain reduction
begin to operate normally. This whole start-up procedure only takes a few seconds.

Press-and-hold Keys

The legending on the front panel alerts the user

to the fact that several keys require a ‘press
and hold’ action to initiate them. These keys
relate to functions that could accidentally
introduce large changes of level at the outputs,
causing undesirable effects and possible
damage. These keys have their function
marked in BOLD (and a different font) to make it clear that they will only change
state if the key is held in for a time.

The keys in question are…

LISTEN – switching the output to monitor the sidechain EQ signal (See page 15)
MODE – switching between compressor mode and De-EQ mode (See page 16)
AUTO – switching the automatic time constants on and off (See page 26)
STEREO – linking the two channels together to operate in stereo (See page 26)

Minimum and maximum control positions

To ensure that the C2 is 100%
accurate all of the time, and that
what it says on the front panel is
exactly what the unit is doing, it
has been necessary to introduce
‘end-stops’ on the controls.

The extreme regions on each control marked

with the curved line designate this entire region
as relating to the parameter value shown. This
is to compensate for the mechanical tolerances
of the potentiometers.

Page 10 C2 Operators Manual

Compression – What It Is and What It Can Do

What does a Compressor do?

A compressor is designed to do as the name suggests – compress. What it

compresses is the dynamic range of the audio fed to it. This means that it is used to
control the level of the audio in such a way as to limit its maximum value, but in a
gradual fashion. As you might imagine, it would be possible to prevent the level from
ever going over a maximum threshold in a very severe manner – generally this type of
action as known as ‘Limiting’, and is the responsibility of the Limiter Module also in
the C2. The method by which a compressor limits the maximum level is performed
in a more gradual way so as to gently control the dynamic range, rather than
dramatically ‘cap’ it, which is likely to introduce audible side-effects.

Why are Compressors necessary?

Consider again the term ‘dynamic range’ for a moment. The dynamic range of any
instrument or device is a measure of the ratio of the maximum possible output level
to the minimum level that can be reproduced. In the case of, for example, a compact
disc player, the dynamic range exceeds 90dB. However, considering a typical
analogue tape recorder, the higher noise floor limits the dynamic range to about
70dB.

If two pieces of equipment are connected together (to record the CD for example),
the unit with the lowest dynamic range sets the dynamic range for the entire system.
In the example above, the dynamic range available is limited to 70dB, losing 20dB.

This is true in many live sound situations as well, where the dynamic range from one
component of the system will prove to be the limiting factor in the whole set-up.
Typically this will be the power amplifier or speaker system. Running the system at
such a level so that the average volume is adequate will not allow signal peaks to be
handled correctly. Given a musical peak that is 6dB above the average signal level, if
the system is forced to try and reproduce a level that exceeds its dynamic range,
distortion will almost always occur.

So how can this scenario be avoided, or at least improved upon?

In an ideal world, all devices used to record and reproduce sound would have
boundless dynamic ranges and so present no compatibility problems with each other.
As this is not the case, some method must be employed to limit the dynamic range of
signals in situations where they will prove troublesome or incompatible. This could
be achieved just by ‘turning down’ the offending level until it reaches a point where
the maximum possible output will not exceed the dynamic range of the system as a
whole.. Unfortunately, this type of action rarely produces satisfactory results, as the
average level will also be attenuated, meaning the perceived volume will drop.

C2 Operators Manual Page 11

What is required is a device that can monitor the signal passed to it, and allow the
average level to pass untouched. At a threshold level the device will begin to turn
down the level by a certain amount. This amount can be varied, to offer more or less
attenuation of signals above the threshold. What would also be useful would be some
way of controlling the rate at which the level is turned down (slower rates will not
sound as unnatural as the effect of ‘reaching for the volume control and giving it a
sharp twist’). Additionally, the ability to change the rate of recovery of the original gain
over a period is as important.

How does a Compressor work?

This is, in essence, exactly what a compressor does. Consider the diagram below,
which shows a signal level versus time . It represents a burst of audio, which is
initially below the threshold of the compressor - in region 1. As this is in the ‘safe’
region, it is unaffected by the compressor. It can be thought of as the average signal
level and remains unattenuated. However, in region 2, the signal has risen (very
sharply, hence the sudden jump) to a level above the threshold.

This signal is potentially

too high and must be
reduced in level to a
more acceptable value.
The difference
between the original
signal and the
compressed signal is set
by the Ratio. So, for
example, consider the
input jumping from 0dB
to +10dB, with the
threshold set to 0dB.

If the output rose by

5dB, then the ratio would be 10/5 or 2:1. Comparing the level displayed on the input
meter with the level on the output meter (assuming all other dynamics modules are
bypassed) will demonstrate the level of Gain Reduction being applied to any signals
that exceed the threshold. This amount is shown on the Gain Reduction meter for
the compressor.

Overleaf is the same signal after passing through the compressor. Important in region
2 is the red shaded area – this represents the time to fully apply the gain reduction set
with the ration control, or the Attack time.. The faster the attack time, the less signal
will ‘escape’ through the compressor before it reacts and applies gain reduction. The
setting of this control will be discussed in the next section. It’s value can have a
profound effect on the transparency of the compressor – that is, how natural it
sounds and how noticeable its action appears.

Page 12 C2 Operators Manual

The last region of interest is region 3 where the signal returns once again to below
the threshold. The green shaded area represents the recovery time for the
compressor to stop applying gain reduction and effectively ‘recognise’ that the signal
is to pass through unaffected. This represents the Release time and again must be
carefully set so as to prevent audible artefacts.

Note the level

difference marked as
‘Overshoot’. This
phenomenon cannot be
avoided because the
compressor has no way
of knowing when the
signal will reach the
threshold, and so
cannot ‘prepare in
advance’ for this
happening.

Consequently, there will always be a brief period before it can react, even at the
minimum attack setting (fastest rate of gain reduction application).

What makes the XTA Compressor different?

Being a totally digital dynamics processor, the C2 has several advantages over
conventional compressor designs. By inserting a short delay into the sidechain signal
path, the compressor is able to ‘look ahead’ and anticipate peaks before they occur.
This gives it the ability to prevent the overshoot that is unavoidable with analogue
compressors. In this way, the compressor behaves in a more predictable and
controllable manner, with no compromises in performance.

It is quite common practice to insert some EQ into the sidechain of a compressor to

make it ‘frequency conscious’. This would normally involve patching an external
equaliser through the external sidechain loop (or external key), tying up a valuable
resource in the process. the C2 ’s compressor has a band of fully featured
parametric equalisation built into the sidechain. Each band can be swept from 20Hz
to 20kHz and is selectable as either a parametric filter, or a shelving filter.
Additionally, the filters can be bypassed, so that, in conjunction with the ‘Key Listen’
facility, its effect on the sidechain can be quickly and accurately determined.

Modelling all the dynamics processing digitally allows the time constants set by the
user to be one hundred per cent accurate all the time, with no drift due to
atmospheric changes. The ability to link the two channels together also permits
completely accurate stereo tracking.

C2 Operators Manual Page 13

C2 Configurations

There are two distinct modes of operation of the C2 - normal compressor mode
(augmented by a sidechain equaliser section), and the De-EQ mode. To explain the
operation of these two modes and clarify the differences between them, they will be
broken down into building blocks, which are connected differently in the two modes.
The building blocks and their operation is explained below.

Input Section:
The input section is the same for both modes – the audio signal is
either converted to digital, ready for processing, or is fed directly
from a digital AES stream. Note that the digital input is a factory
fitted option only.

The signal will be split at this point – one path forms the main signal
path, the other forms the sidechain (or control) path that is used to modify the main
one – in this application to compress it.

Sidechain EQ Sections:
The signal used for controlling the main path may be
equalised prior to its use as a control signal – this enables
it to be made more or less sensitive to certain
frequencies, changing the way the compressor reacts the
audio. The degree of sensitivity may also be also be
adjusted (the Sidechain EQ Gain control) when in
compressor mode. More on this later.

This signal (suitably equalised) is then passed into the control section where it is used
to determine the degree of compression of the main signal and how this is applied.

Control Sections:
This control signal is compared against the threshold setting to see
if it is to start affecting the main path. Included in this section is the
ratio control which determines how severely the main signal is
compressed as it continues over the threshold, and the attack and
release times which determine how quickly the compressor reacts
and ‘leaves go’ as the threshold is crossed.

This signal is now used to directly affect the gain (in compressor mode) of the main
signal, and conceptually does so using the …

Page 14 C2 Operators Manual

Gain Control Section:
This element is simple in its operation – the signal to be controlled
passes straight through, and the signal fed in from the side can ‘turn
down’ the main signal, but is never heard itself. To hear this control
signal, it is necessary to monitor the sidechain path.

The sidechain LISTEN signal may be monitored at the output, using the LISTEN
key on the front panel. If the signal has been heavily compressed, chances are the
overall level will have dropped considerably. At this point it might be necessary to
introduce some additional gain to compensate for this loss.

Make-up Gain Section:

The introduction of extra (static) gain is best applied by ear, but the use of
the metering will aid the process. The intention is to make the input and
output levels of the unit match. Frequent comparisons using the ‘ACTIVE’
key to bypass the unit, and watching the gain reduction meter, which will show the
instantaneous amount of compression being applied, are the keys to matching the
levels.

Limiter Module:
Separate to the compressor is a fully independent limiter module. This
follows the compressor and is post-make-up gain at all times. It
determines the absolute maximum output level from the unit, set with the
threshold control. However, the LISTEN signal does not get routed through the
limiter, so be careful when engaging the sidechain monitoring.

Output Section:
As mentioned in the limiter section, the LISTEN key
is located just before the output stage, and routes the
output of the sidechain (equalised or not) to the main
output, so that it can be accurately tailored to achieve
the desired response. The output is then converted
back to analogue or transmitted as a digital signal to an
independent output. Note that the digital output is a factory fitted option – please
see Appendix 1 for further information about this.

Now that the main building blocks have been explained, their interactivity and
connections can be outlined with reference to the two modes of operation.

C2 Operators Manual Page 15

Compressor MODE

Below is the block diagram showing how the compressor works.

Following the input section, the signal is split into the main path
(audio) and the sidechain (control). The main path consists of the
gain control element, followed by the make-up gain section, then
through the limiter and directly to the output.

The sidechain may be equalised by passing it though the EQ section, and this
equalised signal may be monitored by engaging the LISTEN function. In this mode,
the sidechain control signal may be equalised to make it more or less sensitive to
certain frequencies. This will in turn affect the threshold of the compressor, making it
compress to a greater or lesser degree depending on the frequency content of the
incoming signal.

However, no matter how the sidechain is equalised, the compression is applied to the
entire main signal – and all frequencies are reduced in gain by the same amount. This
is known as ‘broadband compression’. The introduction and use of the sidechain
EQ adds the facility to make this ‘frequency conscious’.

Page 16 C2 Operators Manual

DE-Eq MODE

Below is the block diagram showing how the De-EQ mode works.

Following the input section, the signal is split into two paths, which
are eventually recombined to form the main signal path again.

One signal passes through the equalisation sections that, in this mode,
operate slightly differently to the sidechain EQ for the compressor
mode. In compressor mode, the EQ can be used to cut or boost a band of
frequencies, but in De-EQ mode, these filters are only used to ‘home in’ on a band,
to make the signal more sensitive in this area.

This filtered signal is then used to control the threshold at which it is recombined
with the other unfiltered signal. Note that the gain control element is in this part of
the signal path with the control signal adjusting its level.

The crucial part is following the gain control element. The filtered signal is now
inverted so that, when it is re-combined with the other signal, it will cancel out some
of the overall level around the selected band, so compressing just those frequencies.

C2 Operators Manual Page 17

Sidechain Equalisation – How and When to Use it

When would Sidechain EQ be useful?

When it is necessary to adjust the sensitivity of the compressor, tailoring the sidechain
signal with equalisation is the only way to achieve this without affecting the main signal
path.

De-essing and de-popping.

For example, a de-esser is really a compressor that has had its sidechain made more
sensitive to sibilance (sounds such as ‘s’ and ‘t’), which occurs in the range 6kHz to
9kHz. A de-popper will be a compressor sensitised to respond to low frequency
plosives (sounds such as ‘p’ and ‘b’) in the range 80Hz to 150Hz.
In reality, the attack and release times of the compressors as implemented for
de-essing and de-popping will be set appropriately to prevent the compression having
too great an effect on the overall signal.

Both of these examples illustrate using the sidechain EQ to make the sidechain more
sensitive to certain ranges of frequencies. It can be very useful to be able to de-
sensitise the sidechain to certain frequency bands to prevent excessive activity at
inappropriate times.

Maximising loudness without dulling the mix.

Loudness, as opposed to volume, is dependant on the signal density as much as the

level and so compressing the program can increase the perceived loudness without
actually requiring more headroom. For example, consider the situation where bass-
heavy program material is to be compressed to maximise loudness in a live situation.
The spectrum might look like this.
If the threshold was set
to 0dB (the dotted line)
it can be seen that the
compressor will start to
act first when the low
frequency part of the
spectrum crosses the
threshold.

This will have the effect of pulling down the level across the entire spectrum
(including the high frequencies) and so causing the familiar ‘dulling’ that can easily
occur with full range compression. The solution to this problem is to introduce some
complementary sidechain EQ that will remove some of the offending bass from the
control signal, making the compression more ‘even-handed’ again. The required
effect on the spectrum would be similar to that shown below.

Page 18 C2 Operators Manual

Having used EQ to tame the bottom end in the sidechain, the compressor will now
be much less sensitive to low frequencies and so won’t start applying gain reduction in
response to only bass.
Traditional sidechain EQ
is normally only featured
in noise gates, and is
limited to high and low
pass filters. In this
situation, whilst a high
pass filter could have
been used to remove some of the low frequency weight present, a wide shelving cut
band would be better, offering much more accurate control of the amount of bass
removed. The curve imposed by a high pass filter is shown in orange, and that of a
shelving filter in red. This highlights the advantage to incorporating more flexible EQ
into the sidechain than that normally offered. The high and low pass filters may be
used to perform quite
severe tailoring of the
frequency response, but
for accurate highlighting
of a small band of
frequencies, parametric
filters are much better.

How would sidechain EQ normally be implemented?

Typically, sidechain EQ would be patched into the in/out external path as offered by
the dynamics processor. The C2 obviates the need for this external processing for
any of the dynamics modules.

C2 Operators Manual Page 19

Why is the De-EQ mode so useful?

Having selected the frequency band to work with, the dynamic eq will listen to this
band and act upon it by cutting(compressing) any frequencies present in it that go
above the predetermined threshold. Consider the example below where the
threshold is set to –20dB, and the selected frequency band is centred around 1kHz.

Signals below the threshold will pass unaltered, but as increasing signal is applied,
those frequencies centred around 1kHz will be cut or compressed. The ratio in the
above example is set at 2:1 so, as with any compressor, the amount of gain reduction
applied depends on how much the signal exceeds the threshold. The red line
represents a signal at 0dB, which is 20dB above the threshold. At 1kHz, therefore,
the signal has been compressed to –10dB or 2:1.

Uses of “De-EQ” mode.

Traditional use of ‘frequency conscious’ compression is to control or ‘tame’ a certain
band of frequencies within the program material. Insertion of EQ into the sidechain
will make the compressor respond to the required band, but it will cause broadband
compression of the signal, so any peaks will cause the entire signal to be compressed.
This produces the familiar problem of dulling the material if it is bass-heavy, or
causing unnecessary dips and changes in ambience when attempting to remove
sibilance.

The difference with dynamic EQ is that only the band selected is compressed. This
means that it becomes possible to compress the low frequency content of material
without affecting the high frequencies at all. The result is increased volume and
perceived level with out sacrificing clarity. Any instance where the desired result is to
control a band of frequencies, such as de-essing, or de-popping, without affecting the
surrounding frequency ranges is an ideal use for this mode.

Try de-essing with the filter centred at 8-9kHz, and a narrow bandwidth setting,
attack 25mS, release 100mS.

Page 20 C2 Operators Manual

Look Ahead Delay – Pre-emptive Action

One of the most significant advantages of digital signal processing over analogue is the
ability to delay the audio signal precisely and without extensive complex hardware.
The entire domain of digital signal processing is based around the combination of
delaying, multiplying, and accumulating numbers (representing samples of audio) to
implement all the filters and dynamics processing we have come to expect today.

In the case of dynamics processing, being able to delay a signal allows the processor
module to delay the main signal in relation to the sidechain (the signal being
monitored relative to the threshold), so that it can compensate for peaks prior to the
arrival of the main signal.

Consider the situation of a monitor engineer listening to a band perform1. Having no

access to dynamics processors, he has had to resort to manually ‘riding the faders’ in
an attempt to keep control of the levels. Should the level of one of the channels on
his desk reach an unacceptably high level, he will turn it down appropriately.

There is a hidden
sidechain in operation
even in this case. The
main signal path is fed
through the monitor
desk and the gain
controlled by adjusting
the fader. The sidechain
is formed by the
feedback path between
the engineer’s ears
checking the level and his
brain instructing his hand to turn the fader down if the volume goes over the
threshold he has chosen.

In this case, the delay between the signal actually going over the threshold, the
engineer registering the situation, and then turning the signal down will be in the
order of several hundred milliseconds at best. This will only be true if he is not
distracted – in reality, it may be several seconds before any gain reduction is imposed
on the signal to bring it under control.

For an analogue dynamics processor, the situation is much better. Controlling the
gain electronically, and not relying on a human sidechain feedback mechanism, it can
react much more quickly.

1
XTA would like to point out that whilst the C2 might
‘sound’ male, not all engineers are necessarily male.
Some might well be female, or at least have long hair.
C2 Operators Manual Page 21
 The red waveform
represents the input to
the dynamics module,
with the dotted line
showing the threshold
for gain control to occur.
There are several peaks
towards the start of this
signal that are above the
threshold, and so the
dynamics processing
should react to these as
appropriate. (In this case
reduce the gain).

The blue waveform

show the output of the
dynamics module. The
circled peak
demonstrates that the
processor has missed the
first peak above the threshold (as it is very fast and short), but has ‘caught up’ shortly
afterwards, keeping all other peaks under control. As it is unable to predict what is
coming, this will always be a failing with analogue dynamics processing.

The C2’s ability to predelay the sidechain allows it to predict what will be appearing
in the main signal path and react before the signal arrives, thus preventing the
overshoot seen above.

Making sure that the AUTO system is off (blue LED is

not illuminated), setting the attack time control to its
minimum setting will force the C2 to use predelay in
the sidechain. The effect of this is explained in the next
section.

Page 22 C2 Operators Manual

 The predelayed
sidechain is shown in
green, with the main
signal in red.

As the main signal arrives

slightly after the
sidechain, the output
from the C2 does not
suffer from the
overshoot problem.

Remember that this delay is only in the order of 10 to 60uS,and is a predelay – the
sidechain is moved back in time in relation to the main signal. Inserting a delay into
the main signal path of an analogue dynamics processor will achieve similar results,
but with the penalty of delaying the main signal by the amount of look ahead delay
introduced.

Note that the C2 does not have to use this look ahead delay – in many cases, it is
preferable to allow the overshoot. For example, compressing percussive instruments
where the overshoot retains a degree of the original high frequency energy, stopping
the sound from becoming lifeless and dull.

Times when it is useful include:

• Preventing the limiter from ever overshooting when mastering for digital
media;
• Ensuring maximum level into a desk using the compressor to level signals
without clipping the input to the channel.

C2 Operators Manual Page 23

Setting the Attack and Release times

As with all compressors, using too fast attack and release times on low frequency
program (such as a bass guitar) will cause the compressor to respond to individual
cycles of the signal, rather than the overall envelope. This will result in obvious
distortion, which might be described as sounding like clicking superimposed on the
original signal.

The compressor release time has been deliberately restricted to a minimum of 25mS
to prevent excessive distortion on low frequency signals, even with fast attack times
and high ratios. None the less, it is still possible to introduce some distortion if care is
not taken with the settings. The best way to ensure that the signal is not being
excessively distorted is to make good use of the ‘ACTIVE’ button, constantly
comparing the original signal with the compressed version.

The Compressor ‘Knee’ Control.

One of the most misunderstood parts of a compressor is the parameter usually

labelled the ‘Knee’. This may be a fully variable control, or a switchable parameter,
normally with ‘Hard’ and ‘Soft’ settings. The knee control permits a softening of the
compressor action, which can prove to be especially useful at high compression
ratios.

Without the inclusion of a knee control, at the threshold of gain reduction, a sudden
transition occurs between unity gain and the ratio by which the compressor
attenuates. When using high compression ratios, the use of a hard knee can result in
a very unnatural sound.

Page 24 C2 Operators Manual

Consider a compressor with a relatively high ratio of 8:1. A typical in-out transfer
function would be as below2. The very sharp introduction of gain reduction is
obvious at the threshold point (-20dB).

The ‘Knee ‘ parameter is set to 0dB in this example –

this corresponds to a ‘hard’ setting. Increasing the
‘Knee’ to its maximum of 12dB, spreads the onset of
the compression over a wider area, (6dB above and
6dB below the threshold), reducing the severity of the
compressor. This shows
on the graph as a
flattening at the
threshold, rather than a
sharp bend.

The C2 offers three

preset knee settings:

Hard Knee: Compression begins

immediately the threshold is exceeded,
at the full ratio setting.

Medium Knee: Compression begins 6dB

below the threshold at half the set ratio,
and reaches full ratio 6dB above.

Soft Knee: Compression begins

12dB below the threshold at half
the set ratio, and reaches full ratio
12dB above.

2
Software screenshots are from SiDD PC control software, available for the SiDD dynamics processor
C2 Operators Manual Page 25
Using the AUTO system

The automatic system on the C2 is

responsible for taking care of the setting of
the attack and release times in either
compression mode or de-eq mode.

By adjusting these times dependant on the

use of the use of the sidechain EQ, the
compression can be made as transparent
as possible.

The AUTO system is further supplemented by the C2’s ability to prevent

combinations of attack and release times that would cause distortion when large
amounts of gain reduction are being applied to the signal.

Even with the automatic time constants off, in compression mode, the release time
cannot be set to less than double the attack time, whilst in de-eq mode, the release
time cannot be set to less than the attack time. Whilst this operation is not made
apparent by the unit’s front panel controls, it does go a long way to guaranteeing that
the compression will never sound terrible!

Enabling the AUTO system by HOLDING the AUTO key will illuminate the blue
LED and render the attack and release controls inactive.

STEREO Linking

Pressing and HOLDING the STEREO key will

illuminate the LED and gang the two channels of
the unit together.

This has the effect of disabling the controls for

channel B, as both channels will assume the
settings on channel A. Additionally, the
sidechains will be linked so that, if one channel
compresses more than the other, the same
amount of compression will be applied to both
channels, so avoiding any shifts in the stereo
image.

Metering remains independent between the two channels. Note that as soon as the
stereo linking is turned off, channel B will assume the parameters as set by its
controls. This might have a dramatic effect on the level of the channel, so be careful!

Page 26 C2 Operators Manual

Operating Notes

Operating Level
With any audio signal processing equipment it is necessary to ensure adequate signal
level is used through the device, to avoid sacrificing noise performance. It is suggested
that the operating level chosen should give adequate level to just light the -12dB LED
on the headroom meter with maximum program level being used. Since the meter is
deliberately set to show clipping 3dB early, this still provides 9dB of headroom before
clipping occurs. With equalisation in use it may be necessary to further reduce the
input level, as gain within the unit may cause digital clipping, indicated by the top red
LED's lighting independently of the rest of the meter.
It should be noted that the figure quoted for the maximum input level options is the
clipping point for that option (not a safe operating level). Always ensure that this
clipping point is no lower than that for the following equipment in the signal chain,
and allow extra margin if equalisation sections are boosted.

Grounding
The Screen (shield) pins on all audio connectors are normally connected directly to
the ground pin of the IEC mains inlet. The chassis is also directly connected to this
pin. Never operate this unit without the mains safety ground connected. Signal
ground (0V) is in turn connected to the chassis ground.
To avoid ground loops, cable shields should be connected to ground at one end only.
The normal convention is that the shield is only connected at the output XLR.
Provision is also made for separately isolating each input and output shield pin
permanently within the C2 by breaking the appropriate PCB track, where marked
with a box and an arrow next to each XLR connector using a small drill bit or cutter.
See the following diagram for details.

XLR pin 1 Isolation points (arrowed) and 10dB pads (circled)

C2 Operators Manual Page 27

Specifications

Inputs: 2 electronically balancedu

Impedance: > 10k ohms. Limiters
CMRR : >65dB 50Hz - 10kHz. Threshold: -10dBu to +22dBu
Attack: 1mS (preset)
Outputs: 2 electronically balancedu Release: 300mS (preset)
Source Imp: < 60ohms
Min. Load: 600ohm
Max. Level: +20dBm into 600 ohm Input/Output meter: 7 point,
-18dBu to +18dBu.
Frequency Resp.:+½dB 20Hz-20kHz Gain Reduction meter: 12 point,
Dyn Range:>110dB 20Hz-20k unwtd 6dB below threshold to 24dB red’n.
Distortion:< .02%@1kHz,+18dBm
Connectors
Compressor/De-EQ Inputs: 3 pin female XLR
Threshold: -30dBu to +22dBu Outputs: 3 pin male XLR.
Ratio: 1:1 to 16:1 Power: 3 pin IEC
Attack: -60uS to 250mS
Release: 25mS to 4 S Power: 60 to 250V ±15% @
Knee: Hard/Med/Soft characteristic. 50/60Hz.
Make-up Gain: 0 to +15dB Consumption: < 20 watts.
Weight : 3.5kg. Net (4.8kg. Shipping)
Sidechain EQ Section Size: 1.75"(1U) x 19" x 11.8"
Type: Selectable high/low shelf or (44 x 482 x 300mm) excluding
Narrow(0.83 Oct.)/wide (1.25 Oct.) connectors.
parametric response.
Centre/corner Freq: 20Hz to 20k
Gain: +6,9 or 15dB and ‘Off’
Sidechain monitor available.

Options u = Transformers available.

Optional Interfaces AES/EBU Digital Input/Output
Due to continuing product improvement the above specifications are subject to change.

Page 28 C2 Operators Manual

Warranty

This product is warranted against defects in components and workmanship only, for a
period of one year from the date of shipment to the end user. During the warranty
period, XTA will, at it's discretion, either repair or replace products which prove to
be defective, provided that the product is returned, shipping prepaid, to an
authorised XTA service facility.
Defects caused by unauthorised modifications, misuse, negligence, act of God or
accident, or any use of this product that is not in accordance with the instructions
provided by XTA, are not covered by this warranty.
This warranty is exclusive and no other warranty is expressed or implied. XTA is not
liable for consequential damages.

Options and Accessories

Part Number Part Description

ITX-100 C2 Transformer balanced inputs (factory fitted only)
OTX-100 C2 Transformer balanced outputs (factory fitted only)
AES-C2 AES/EBU Digital inputs/outputs (factory fitted only)

C2 Operators Manual Page 29