C4

Multiband Compressor
User Guide
Table of Contents
Chapter 1 — Introduction ......................................................................................................... 3
Chapter 2 — Quickstart ............................................................................................................ 5
Chapter 3 — Controls and Interface ......................................................................................... 8
Chapter 4 — Range and Threshold concept ........................................................................... 19
Chapter 5 — Examples of use ................................................................................................ 24
Chapter 6 — Presets ............................................................................................................... 29
Chapter 7 — Essential concepts (and history) ........................................................................ 35

C4 Plug-In Manual 2
Chapter 1 — Introduction
Thank you for choosing Waves! To get the most out of your new Waves plugin, please take
a moment to read this user guide.

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www.waves.com/support. There are technical articles about installation, troubleshooting,
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Support news.

Waves C4 Multiband Parametric Processor is designed for ease of adjustment and a

clear, uncolored sound, while still allowing extreme ranges of control when required. To
that point, this “multiband dynamic equalizer” has parametric controls, in that you can
change the crossover points (bandwidth), gain (both fixed-output and dynamic), and
frequency range of each band, as well as the dynamic range and response controls.

The user interface and compressors in the C4 are designed to help you enhance a good
mix. Poor mixes are better to be re-done, although the reality of daily production often
makes a remix impossible, so the C4 can be used to “fix” these less-than-desirable mixes,
up to a point. You can actually limit the amount of gain reduction or expansion in each
band. And the innovative graphic user interface gives you precise feedback of what is
going on.

You may think of the C4 as a multiband compressor with parametric adjustments, or as a

four-band dynamic equalizer. Both concepts are true, but the interface looks more like an

C4 Plug-In Manual 3
equalizer with a moving line! Waves’ unique DynamicLine™ display shows the actual
gain change as an EQ display. We merged gain reduction metering with the crossover
display for a very intuitive interface. When used judiciously, C4 can do much more than
merely make a mix “louder." Think of the C4 as a dynamic equalizer capable of gentle
compression, expansion, limiting, and EQ—independently and simultaneously. You can,
in certain instances, de-ess, EQ, and expand in separate bands simultaneously. This is
much easier than trying to adjust several split-band compressors.

A proper multiband compressor must have a phase-compensated crossover with a flat

frequency response when set to nominal values. The C4 has exactly such a crossover.

Why is such a crossover so important? It's to avoid undesirable coloration to the sound
and to eliminate artifacts and pitch-shifting effects between bands as their gains move
independently. Any change to a signal can be considered a distortion (some much more
pleasant than others). We want desirable, predictable changes , not uncontrollable, “part-
of-the-design” ones.

WaveSystem Toolbar
Use the bar at the top of the plugin to save and load presets, compare settings, undo and
redo steps, and resize the plugin. To learn more, click the icon at the upper-right corner
of the window and open the WaveSystem Guide.

C4 Plug-In Manual 4
Chapter 2 — Quickstart
The basic overview

Individual band controls

Range
Sets the maximum gain change for a band. If set to a negative value (e.g., –10), the band
is a compressor; positive values (e.g., 6) make the band into an upward or downward
expander. If Range is set to zero, then the band will have no dynamic action (therefore,
can be used as an EQ). Range sets both the ratio and the maximum gain change. You may
have noticed there is no Ratio control! Instead, the Range control serves as both a type of
ratio control and a way to also control the maximum gain reduction in each band. To
achieve higher ratios, simply increase the RANGE value, and possibly lower the Threshold,
if required. Increasing the Knee to higher values also increases the ratio at the knee.

Gain
This is the output level for a band (also called “makeup gain”); you can also think of this
as an “EQ” gain control. If there is no dynamic change in the band, then this control
simply boosts or cuts the band; if dynamic processing does occur, this is the “fixed level”
that the band’s gain will return to when that band is not compressing or expanding.

Attack and Release

These work just as in any other compressor, controlling how quickly the dynamic process
reacts to a signal (how fast it acts at the start, and how quickly it “lets go”). The Release
time utilizes Waves ARC auto-release technology first developed for the Renaissance
Compressor.

C4 Plug-In Manual 5
 Threshold
This is also the same as in classic compressors, and controls the point at which a band is
responding to signal level. In the C4, the Threshold will be the center of the Range
value, that is, if Range is –8dB, then the Threshold marks the –4dB gain reduction point
(you’ll have 4dB of gain reduction if the signal is equal to the Threshold). This results in
the standard behavior for a soft-knee compressor—you will observe compression or
expansion below the threshold value.

Global controls
Just to the right of the four bands are seven Master controls; for example, the master
Threshold will adjust all four Thresholds simultaneously. The Behavior control affects the
release behavior (Electro or Opto). The other Master controls work in a similar way. All
have extensive descriptions in Chapter 3: Examples of Use, and in Chapter 4: Controls and
Interface, with examples and suggestions for optimum sound.

C4 Plug-In Manual 6
Basic multiband operation

• Load the “Basic Multi” preset from the Waves Presets menu (the small arrow in the
middle of the WaveSystem Toolbar).

• Play some audio. If the yellow line is not moving, drag the Master Threshold down
until it is responding and you can hear the processing.

• Adjust each Threshold so that each band is responding reasonably, not too much or too
little (just listen!).

• Adjust the Master Gain until the average position of the yellow line is around the
center horizontal line. Set the compressor so that when you toggle the main Bypass
button at the top edge of the window, the level is about the same in and out of bypass.
Ignore any tonal imbalance, just aim for average level to be the same as in Bypass.
Finally, adjust each band’s Gain so that the overall tonal balance is to taste. Since high
frequencies will compress and release faster, often the result is that as more multiband
compression is applied,(say, by adjusting Master Threshold) the signal becomes
progressively brighter on average. You can simply lower the Gain for the high band(s)
to compensate for this.

• For more compression, set the Range value lower.

• For “tighter” sound, adjust the Q to a higher setting, or, the Attack and Release
controls to faster values, or the Knee to higher values.

• Read the rest of this manual; there are many tips that can help you optimize your
sound.

C4 Plug-In Manual 7
Chapter 3 — Controls and Interface
Main display area

DynamicLine™ Graph
Instead of individual gain reduction meters, which provide a limited amount of
information, we felt that showing the basic function of a multiband processor must include
the gain change in each band plus the “resultant EQ” by the settings of the crossover.
Therefore we combined them into a new interface display.

If you have a crossover and set the output gains differently in each band, you have a
four-band EQ, in a manner of thinking. Putting compressors into each band makes it a
dynamic EQ. Therefore, the graph shows a large amount of information:

• three crossover points (draggable)

• crossover slope (global)
• DynamicLine™ animated EQ curve (yellow line)
• maximum change in dynamic Range (the purple area)
• fixed gain (the brighter edge of the purple range)
• frequency center points (draggable)
• effective gain change (by comparing moving line to scaling on left edge)

This is a lot of information in a single display, but you’ll find it very intuitive after just a
short time of using it.

Due to the complex nature of the possibilities of this processor, it’s best to give a
complete example so that the list above is clearly understood.

C4 Plug-In Manual 8
Display example

Let’s suppose that you only want to do compression, just as shown in the screenshot below,
so we’ll refer to the settings shown there (what is shown is the “Low-level Enhancer”
preset with audio passing through the C4).

• The crossover points are shown by dotted straight lines and markers on the lower edge;
the slopes can be seen as shown by the dotted gray curves.
• The yellow line is both the “resultant EQ” and the gain metering at the same time.
• The Range controls the maximum gain change (if Range is negative, you have a
compressor, if positive, you have an expander).
• Fixed Gain—the “output gain” of each compressor band—is shown by the lighter
purple edge of the purple range.
• Band center points are shown by four markers.
• Gain metering is shown by the moving line, and by observing the scale on the display’s
left edge, a general idea of how much gain reduction (or increase) is achieved in each
band.

In this example about the display:

Range is set to negative values, which means that the dynamic gain change for each band
ranges downward (a reduction) from the fixed gain edge. Dynamic gain reduction is
compression(!), no question about that. The purple area represents the Range within which
the processor can change gain dynamically. If the Range was set to a positive value, that
band would be an upward expander, and then the purple range will extend above the fixed
gain line. The Expander function can be used for distinctive and innovative low-level
processing, which is covered in more detail in Chapter 4: Range and Threshold Concept and
Chapter 5: Examples of Use. Multiband low-level expanders are quite amazing and good
tools to have.

C4 Plug-In Manual 9
As you can see, Gain is set to different positive values for each band. In the previous
graphic, the colored edge of the purple shading is the Gain line. If you are familiar with
the Waves C1 compressor, just think of the C4 as a group of C1 compressors all in split
mode. You compress the bass or some other band, then set the “makeup gain” for the
level you want the compressed band to have.

The purple area shows the Range of possible dynamic gain changes in each band. This
dynamic gain is in addition to the band’s fixed gain and is relative to it. The Gain value
is always shown as the lighter-colored edge of the purple range.

Simply put, Gain is always the highlighted edge of the purple band, and Range offsets it
to the other edge. Another principle you should keep in mind is that Gain always takes
place when the signal is well below the Threshold, and Range offsets it when the signal
is well above the Threshold. Keeping this in mind will help you to setup the C4 for the
wanted gain change below and above the Threshold.

In this example, the Threshold and other controls are set for the desired sound and do
not affect the display or graph in any way (except for the speed of the graph which is
affected by attack and release times).

Crossover points

Along the lower edge of the graphic display are three crossover point markers. These can be
dragged to adjust the crossovers, or a numerical value can be typed into the control just below
each marker.

C4 Plug-In Manual 10
Q

Just to the right of the numerical crossover controls is the Q control, which adjusts the slope of
the crossover filters. All four bands are affected at the same time. The slopes are visible as
dotted curves in the main window.

Q ranges from 0.10 to 0.75. Higher values mean steeper slopes, which give sharper divisions
between the bands. This doesn’t mean steeper slopes are better, otherwise there would be no
reason to allow control at all. To achieve more intense processing (greater compression,
smaller peak-to-RMS ratios, etc.), steeper slopes can offer significant benefit. To achieve more
gentle processing and more inter-connected processing, lighter slopes will be more
appropriate.

• Q = 0.1 => -6dB per octave slope, gentle separation

• Q = 0.6 => -12dB per octave slope (default, and recommended)
• Q = 0.7 => -18dB per octave slope
• Q = 0.75 => -24dB per octave slope

Band center markers

Above the yellow line are four colored markers representing each band, which are quite
powerful. Dragging any marker can change three values simultaneously. Dragging
horizontally will change the frequency center of a band (by changing the crossover point
related to that band). Note that changing the center of a band will also change the adjacent
band.

If you drag the marker vertically, will change the Gain for that band. Vertical dragging while
holding the Option/Alt key changes the Range. You can lock into one direction by pressing
and holding the Command key (Mac only) during any dragging operation, which will help
you avoid changing the other direction’s values, i.e., Command- dragging horizontally will
not change the Gain value. (See other power-user tips in the WaveSystem manual; there are
many).

Summary of Band marker controls:

• Horizontal drag = Frequency center
• Vertical drag = Gain
• Option/Alt-vertical drag = Range
• Command-drag = lock into first direction moved (Mac only)

C4 Plug-In Manual 11
Band controls

Each band has seven controls.

Solo

At the top left corner of each band is the Solo button, which allows you to listen to just
that band, with processing (post-compressor). The display also shows what you are
actually hearing, so if you solo two bands, the display will show two bands with the
dynamic yellow line and purple ranges, as seen below.

Bypass

Just to the right of the Solo button is the Bypass control, which returns the entire band to
a unity gain status with no dynamic processing at all. The Gain control value is ignored.
Therefore, if you want to simply have no dynamic processing at all in the band, but still
wish to have control of the Gain, don’t use the Bypass control. Instead, set the Range to
zero and then use the Gain control as a fixed makeup gain control (which you can think
of as a one-band EQ).

C4 Plug-In Manual 12
Threshold

This determines the point around which the dynamic gain changes will take place; in other
words the center point of the Range control. This control can be changed by vertically
dragging the triangle beside the orange energy meter. Each meter shows the actual level in
that band (so if the band is very low, high, or narrow, the level in that band will be low,
most likely). It makes it very easy to set a Threshold; merely drag the triangle down until it
is within the range of motion of the orange meter. The value of the Threshold is displayed
at the top of the meter. You can also type a value into this display, or drag directly on the
box.

Note that only the first band is labeled with “Thrsh”. No reason to clutter such a nice user
interface, eh?

Gain

You can think of this control as the makeup gain for each band (or as an offset gain). In the
Waves C1 compressor, it is simply called Makeup. On many compressors, like the C4, it is
called Gain, and is the output control of that band, whether it is set to be a compressor or
an expander. Just set the dynamic behavior (say, light compression) for a band, then set the
Gain control to the desired level.

It helps to remember that Gain takes place when the signal level is well below the
Threshold — that is what we term low-level Gain.

C4 Plug-In Manual 13
Range

This is a deceptively simple control to let you set the maximum range of compression or
expansion for each band, in dB. For instance, if you set Range to –6dB, you will not have
more than –6dB gain reduction in that band, no matter how deep you’ve set the
Threshold. This gives you the flexibility to do low-level compression (as first offered in
the Waves C1), which is a way to “compress upward” a level of a band, without altering
the transients above the range.

Just think of it as a way to set the ratio and a maximum gain change at the same time. The
bigger the Range (negative or positive), the more gain change you can have in that band,
as well as having a higher ratio. For most compression applications, just setting Range to
-4 is quite sufficient, unless you are intentionally trying for a heavy effect. To achieve
limiting, a large negative Range can be used (try the Limiter Medium or Limiter Heavy
setups as starting points).

It helps to remember that Range is added as an offset to Gain, when the signal level is
well above the Threshold
—that is what we term high-level Gain.

Attack

This is the classic compressor or expander attack control. It varies the speed with which
the dynamic process will take place, in response to an increase in input level. For
example, if you have Attack set to 100ms on a compressor setting, then the full value of
compression will not occur until about 100ms. By varying the Attack time, you can
precisely control how prominent the transients are allowed to be. With very fast Attack
times the output signal will have very little attack remaining (which can be an effect), but
many times such fast Attack times are the reason that multiband compression can have a
less-than-desirable result. Longer Attack times can increase the peak-to-RMS (the level
of attack-to-sustain, so to speak) of a signal because the longer attack allows more of the
initial sound to pass through before compression occurs. After the compression begins, it
lowers the rest of the sustained sound, therefore increasing the dynamic distance between
the beginning sound (transient) and the sustained sound.

C4 Plug-In Manual 14
Release

This is very much like release controls on other dynamic devices. It varies the speed
with which the dynamic process will stop taking place. If you have Release set to
500ms on a compressor setting, then compression will continue for 500ms (a half-
second). One point to remember is that the 2 controls in the Global section called
Behavior and Release will also affect the release behavior; this is described later in this
chapter in the Global controls section. The ARC™ technology can profoundly affect the
way the release works, and is discussed in the Global controls section.
One advantage of a multiband compressor is that slower attack and release times are not
as necessary as in wideband compressors. The intermodulation distortion (IM)
described previously was caused by compressors that were “tracking” the low-
frequency signals too closely, so setting attack and release times to slower values helped
reduce the IM distortion, but also prevented the type or amount of desired compression
from being achieved. Since each band has its own attack and release controls, they can
be set for optimum dynamic processing with minimum unwanted distortion. If you have
release times that are too slow, then a band could be compressed (reduced in gain) for a
longer period of time after the signal has already fallen below the threshold. Release
times that are too fast will still produce distortion.

Tip: Setting Attack and Release

The easiest way to hear how a too-fast release time causes distortion is simply to Solo
the low band (1st band). Set the attack and release times to very fast values, say 5ms
each, with the Behavior mode set to Electro and the Global Release set to Manual. Set
the Range to –10, and the Threshold deep enough to get a lot of movement in the graph.
Most likely, the bass will be somewhat distorted and fuzzy (just use the 1st band’s
Bypass button for comparisons). Part of correctly setting the Release (and Attack)
controls will be to find values that give the desired dynamic processing without causing
distortion.

Let’s face it, most of you probably wish to use multiband to increase the density
(“loudness”) of your mixes (and hopefully not to poor effect), so we’d like to suggest a
few points so that you will obtain the best possible sound. Just remember that the attack
should be long enough to let the transients pass through for the desired punch, and the
release long enough to minimize distortion.

The higher the frequencies, the less that distortion is factor, and the issues become
somewhat more esthetic. Too fast an attack in the mid and high bands and the sound will
be squished, as the compressor “clamps down” on the sound. Too fast a release and the
tonal balance of the sound will be altered; you can change this by simply adjusting the
Gain of the higher bands so that the bands are not out of balance.

C4 Plug-In Manual 15
 Master controls

Whatever the settings are on each of the band’s controls, the Master controls will add or
subtract from those values.

Master Threshold
Master Threshold simultaneously moves the Thresholds of all four bands. . This is a quick
way to adjust the overall compression in a “strapped” mode. These controls keep the relative
values intact as they are adjusted
Master Gain
All four bands move together when the Master Gain control is adjusted. Best used to adjust
the output level for Bypass comparisons. Set the level so that it is subjectively the same
subjective level as the Bypass level.

Master Range
Master Range adjusts the Range of all four bands. This is ideal for increasing or decreasing
the overall amount of compression or expansion. Generally, if you increase the Master
Range, you may have to raise the Threshold or the Gain to compensate for the increased
compression.

Master Attack
As in the other Master controls, this adjusts all four bands simultaneously. Best used in small
amounts for general adjustments. Better to adjust each band individually for optimum effect
and minimum artifacts.

Master Release
Similar to Attack in that the Master Release is best used in small amounts for general
adjustments. Better to adjust each band individually.

C4 Plug-In Manual 16
ARC™

Waves Auto-Release Control Technology, originally developed for the Renaissance

Compressor, is ideal for the C4 Multiband Parametric Processor. The ARC™ technology was
created to optimize the release time in order to achieve the most transparent behavior. For most
people this means that you can maximize RMS level with a minimum of distortion. If the
Release control is set to ARC mode, then the release time of each band is calculated every
sample for the minimum distortion. The value of the release time you set in each band becomes
the reference value from which the actual release time is calculated by ARC at any given
instant.

In Manual mode, the release time in each band is a fixed value, although the sound is still
affected by the
Global Behavior control (see next entry).

Behavior
Originally developed for the Renaissance Compressor, the Behavior control is selectable
between Opto and Electro modes.

• Opto is a classic modeling of opto-coupled compressors which used light-sensitive

resistors to control the amount of compression (in the detector circuit). They have a
characteristic release behavior of “putting on the brakes” as the gain reduction approaches
zero. In other words, the closer the meter comes back to zero, the slower it moves. (This is
once the gain reduction is 3dB or less). Above 3dB of gain reduction, the Opto mode
actually has faster release times. In summary, Opto mode has fast release times at high
gain reduction, slow release times as it approaches zero GR. This can be very beneficial
for deeper compression applications.

• Electro is very much the inverse of the Opto mode. As the meter comes back to zero, the
faster it moves. (This is once the gain reduction is 3dB or less). Above 3dB of gain
reduction, the Electro mode actually has slower release times, much like a mini-leveler,
which minimizes distortion and optimizes level. In summary, Electro mode has slow
release times at high gain reduction, and progressively faster release as it approaches zero
GR. This has very good benefits for moderate compression applications where maximum
RMS (average) level and density is desired.

C4 Plug-In Manual 17
Knee

This Master control affects all four bands’ knee characteristics, ranging from softer (low
values) to harder (higher values). At the maximum value, the Master Knee control tends to
give the sound a harder edge, with a punchier overshoot-style character. Adjust to taste. The
Knee and Range together interact to give the equivalent of a ratio control. To achieve limiter-
type behavior, use high Knee settings.

Output gain fader

Ranges from -18 to +18dB.

C4 Plug-In Manual 18
Chapter 4 — Range and Threshold concept
The concept of ‘Threshold’ and ‘Range’ instead of the traditional ‘Ratio’ control creates some
very flexible and powerful uses for the C4. They include low-level compression and
expansion, giving you multiband “upward com-pressors” and noise reducers.

Old school/another school

In the classic compressor approach, if you set a very low Threshold with any given Ratio,
extreme amounts of gain reduction of high level signals may occur. For example, with a
Ratio of 3:1 and Threshold of –60dB will result in a –40dB gain reduction for 0dBFS
signals. Such a case is rarely desirable, and in general you would only set such a low
Threshold in a typical compressor when the input level is also very low. In common
practice, more than -18dB of gain reduction or +12dB gain increase is rarely needed,
especially in a multiband compressor.

In the C4, the concept of ‘Range’ and ‘Threshold’ comes in very handy. It lets you first
define the maximum amount of dynamic gain change using the Range control, and then
determine the level around which you want this gain change to take place using the
Threshold. The actual values of these controls depend on the type of processing which you
want.

If Range is negative, you’ll have downward gain change. If Range is positive, you’ll have
upward gain change.
The real flexible fun happens when you offset this dynamic Range with a fixed Gain value.

High-level compression

High-level compression in C1. Ratio is 1.5:1, Threshold is -35. Equivalent C4 setting would have
Range set to about -9dB, with Gain set to 0.

C4 Plug-In Manual 19
If you are interested in conventional compression (termed here high-level compression
because the dynamics of the compression happens at high levels), simply set the
Threshold to high values, between –24dB and 0dB, and the Range to a moderate negative
value, between –3 and –9. In this way the gain changes will take place at the upper part
of input dynamics — just like a normal compressor will do.

High-level expansion (upward expander)

An upward expander from the C1, with a Ratio of 0.75:1, Threshold at -35. Equivalent
C4 setting would be a Range of +10 or so, quite a bit more than you’d probably ever
need. Shown only for clear example.

To make an upward expander (an “uncompressor”) to restore overly squashed

dynamics, simply reverse the Range setting.

Make the Range be a positive value, say between +2 and +5. Now whenever the signal
is around or above the Threshold, the output will be expanded upwards, with a
maximum gain increase of the value of Range. In other words, if Range is +3, then the
maximum expansion will be 3dB increase.

Low-level compression

The low-level processors are where we start to have even more fun. By using the fixed
Gain control to offset the Range, you can affect only the lower-level signals.

If you are interested in increasing the level of soft passages, while leaving the louder
passages untouched (termed here low-level compression), set the Threshold to a low
level (say –40 to –60dB). Set Range to a small negative value, such as -5dB, and set
Gain to the opposite value (+5dB). The audio around and below the Threshold value
will be “compressed upward” a maximum of 5dB, and the higher audio levels will be
untouched, including their transients.

C4 Plug-In Manual 20
This will cause high levels signals (i.e. that are significantly above Threshold) to have no
gain Change – since at high levels the Range and Gain controls are opposite values and
together they equal unity gain. While around and below the Threshold, the Range is
increasingly “inactive” and therefore approaches a zero-gain value. Gain is a fixed value,
so the result is that the low level signal is increased by the Gain control, achieving the so-
called “upward compression” concept.

This is very clear when you see this behavior on the C4 display. Simply look at the yellow
DynamicLine while the input signal is low or high, and see the resulting EQ curve.

In a multiband compressor application, this low-level compression is very handy to create

a dynamic loudness control that cand boost the low and high bands only when their levels
are low, as just one example.

Upper line shows low-level compression (upward), achieved when Range is negative and
Gain is equal but positive. Lower line shows low-level expansion (downward), achieved
when Range is positive and Gain is equal but negative. Graph is taken from C1 to help
visualize the gain structures in the C4.

Low-level expansion (noise gate)

If you are interested in a noise gate for a particular band or bands, set Range to a positive
value, Gain to the inverse of the Range, and Threshold to a low value (say -60dB). Similar to
the above example, at high levels the full dynamic gain increase set by the Range is retained,
and is fully compensated for by the Gain. Around and below the Threshold, the dynamically
changing gain comes closer to 0dB, and the result is that the fixed negative Gain is applied
to the low level signal — which is also known as gating (or downward expansion).

C4 Plug-In Manual 21
“Upside down” thinking
These low-level examples may seem a little inverted to what you would expect. For
instance, that a noise gate would have a positive Range.

If you just remember that when the signal goes around the threshold, then the Range
becomes “active” and that the Threshold is the halfway point of the Range. So whether
Range is +12dB or –12dB, audio 6dB above and 6dB below the threshold is where the
knees of the dynamic change will occur.

Positive Range
Then, if Range is positive and Gain is set to be the negative of Range (opposite but
equal), then around and above the threshold all audio will be a 0dB gain (unity). Below
the threshold, the Range is not active, so the Gain (which is negative) “takes over” and
reduces that band’s gain. This is what gives the downward expansion.

Negative Range
Another seeming example of the “upside down” concept is that low-level compression
takes a negative Range. Again, remember that in the C4, whenever the audio is around
the Threshold, the Range is active.

So, if we set Range to negative, anything around or above the Threshold can be reduced
in gain. However! Here’s the tricky part: if we set Gain to perfectly offset the Range
value, then everything well above the Threshold has no effective gain change at all,
which means that everything well below it gets "lifted up." (If you take this just a bit
further, you’ll figure that all audio exactly at the Threshold will have half of the Range’s
value in positive gain).

One more way to think about it

Here is another bit of help so that you can really learn and use the power of the C4 to its
fullest capability. We’ll take another example from the Waves C1 Parametric Compander,
our one-band processor (it also does wideband and sidechain).

It has a typical ratio and makeup gain control and has been widely used for upward
compression (both wideband and splitband parametric usage).

The C4 Multiband Parametric Processor has a very similar compressor law as the Waves
C1 and the Waves Renaissance Compressor. This model allows the “compression line” to
return to a 1:1 ratio line as the level continues to increase. In other words, there is no
compression of the low signal, compression around the Threshold, and once the signal
goes quite a bit past the Threshold, the compression tapers off back to a 1:1 line (no
compression).

In the graphic below, you can see this exact type of line. The Ratio is 2:1 and the
Threshold is –40dB. The line is just curving a bit (-3dB down point) at the –40 input (the
scale at the bottom). Output level is the scale on the right vertical edge, and you can see
that at about –20dB, the line starts curving back to a 1:1 line.

C4 Plug-In Manual 22
So, very high-level audio peaks between 0 and –10dBFS are not touched at all, audio
between –10 and –40 is compressed, and audio below –40 is not compressed, but is clearly
louder at the output than at the input. This is "low-level compression," or "upward
compression."

Such a trick is very useful and has been implemented by classical recording engineers,
mastering houses, and classical broadcasting. Low-level compression can “lift” soft sounds
up gently and leave all the high-level peaks and transients completely untouched, reducing
the dynamic range from the bottom upwards.

We did say that the C4 was “very similar” to the C1, but different in a significant way: the
Threshold defines the midpoint of the Range. Therefore, to achieve the same curve in the
C4 as shown here, the Threshold on the C4 would actually be about –25 with a Range
setting of +15.5dB. Now this is a very large amount! The example shown here was merely
to make it obvious; we picked the 2:1 line only because it is easier to see on the page. In
reality, low-level compression that lifts the softer audio up 5dB is equivalent to a
approximate ratio of 1.24:1.

Lifting the low-level up about 5dB is a good example for several reasons. It is (1) a very
realistic setting that could be equal to what is being done by the previously mentioned
engineers; (2) only raising the noise floor by an acceptable amount for many applications;
(3) easy to hear on nearly any type of audio, not only classical.

In the Load menu of the C4 are a few factory presets with names beginning “Upward
Comp…” that are good points to learn more about this concept. More presets are in the C4
Setup Library. In the next chapter there are more specific examples of using low-level
processing (compression, expansion) that are very good starting points as well as models
for learning

C4 Plug-In Manual 23
Chapter 5 — Examples of use

As a “Dynamic Equalizer”

Because of the Range and Threshold concept (explained in Chapter 4), it’s easy to think of
the Waves C4 as a dynamic equalizer that allows you to set two different EQ curves (low-
level EQ and high-level EQ), and then set the transition point between them. The transition
is the Threshold control, which sits at the midpoint of the Range value. Of course, this is
not a “morphing EQ,” but it is certainly a dynamic process that moves between two
different EQ settings.
Here’s an example. Load the Low-level Enhancer factory preset from the Presets menu.

You can see the purple range has two distinctly different “curves”: the lower edge and the
upper edge. The lower edge is flat, the upper edge has an obvious “loudness boost” to it.

Remember: this is set as a compressor, so when the signal is low, the upper edge of the
purple band will be the EQ; when the signal is high (and compressed) the lower edge of the
band will be the EQ. So for this example, with no compression (low-level sounds) there
will be a loudness boost (more highs and lows); with compression, the sound will have a
“flat EQ.”

- Play some audio through the Low-Level Enhancer setup.

You’ll see that the audio is compressed downward toward the flat line, so that as more
compression occurs, the effective EQ curve (although dynamic) is flat.

- Now reduce the input level to the C4 or play a quiet section of music so that there is
little or no compression.
You’ll see that the audio is not compressed very much at all, so the DynamicLine “sticks”
closer to the upper edge. By setting the Gain control of each band, you control the low-
level EQ of the processor; by setting the Range control of each band, you control the high-
level EQ.

C4 Plug-In Manual 24
How to create your own dynamic EQ setting (for low-level enhancement):

1. Set the Range to the amount of gain reduction desired in each band; this also sets the
“EQ” of the compressed signal.

2. Set the Gain of each band so that the desired low-level EQ is seen. For instance, you
may want a song to have a little more bass when it is soft, so set the bass band(s) so that
their gain values are higher than the other bands.

3. Attack and release values should be appropriate for the frequency band. (This is why it
is generally easier to work from a preset, then tweak it for what you need.)

4. Set Threshold for the desired behavior. What you want is for the high levels of the song
to be compressed closer to the lower edge of the purple area (to get the EQ for the high-
level). Therefore, the Range values should not be very high. Otherwise you’ll be
compressing a great deal, which is probably not what you want for most applications.

As a vocal processor
Voiceover and singing have similar needs in compression and de-essing, and a multiband
device can be quite good for this. In fact, the C4 also lets you work as an EQ as well, as
previously mentioned.

• Load the Voiceover preset from the Presets menu.

• Any of the bands can be bypassed! If you don’t need de-popping, just bypass band 1, for
example.
• Band 1 is for de-popping, without affecting the deep bass.
• Band 2 is set rather wide, to perform most of the work.
• Band 3 is a de-esser, with a 1dB boost (note that the Gain is 1dB higher than bands 1 and 2).
• Band 4 is just the “air” of the voice, just a tad of compression and boost of 2dB above bands 1
and 2.
• Optionally, you can set Band 1 Gain to –10, with Range set to zero, and the Low
Crossover set to 65Hz. This can lowcut any pops or thumps but may remove some low
stuff that is important; do it only if there are real problems.

Now, while playing voiceover or vocals through the C4, solo each band to hear what it will
affect. Band 2 certainly has all the “meat” of the voice, and by using Band 1 set to a low
crossover, any loud pops or rumble will be isolated.

Adjust the Thresholds of each band so that you have reasonable compression on band 2, with
relatively strong de-essing on band 3. Then adjust the Gain controls to balance the tonality of
the voice.

C4 Plug-In Manual 25
The Q and Knee controls are set very high in this preset (created primarily for voiceover),
and can certainly be softened for a singing voice. Try lower Q and Knee values with
smaller Range settings for more gentle compression, while still giving you powerful de-
essing and “air limiting.”

As a Mastering Processor

We approach this subject with a bit of sincere care. Mastering is a somewhat misused
word. Anyone who is preparing a “Production Master” for duplication or broadcast is truly
mastering, that is, making the final copy and tweaking it. It happens in film and video
(color correction, etc.), in print, and definitely in audio. This includes preparation of nearly
every commercial, show, or production element in the entire media world.

The Mastering Guild (the audio group) has emphasized that CD mastering is an acquired
art and craft, not an equipment list, and the most important tools to such an engineer are
their ears and their monitor configuration. They know what things should sound like; the
question is how to adjust something to get it to where it can be. It’s not through presets or
guesswork. Historically, it has been through apprenticeships, at best.

That aside, we recommend trying the Multiband Opto Mastering preset, or the Basic
multi preset. Either one will give you reasonable compression and increased density of
your mix.

To enhance low-level signals (a great way to boost level without squashing dynamics), try
the Upward Comp +5 or +3 version of the preset. This is great for adding level without
losing punch.

To fix a mix
Most of the time, you want to use relatively equivalent Gain and Range settings across the
bands so to not change the spectral balance too much. However, it’s not a perfect world,
and many mixes are not perfect either.

So let’s say you have a mix that has too much kick, the right amount of bass guitar, and
needs a little “cymbal control” and de-essing.

Load the BassComp/De-Esser preset.

• Adjust the bass Threshold, band 1, until you have some compression.
• Adjusting the band 1 Attack control will let through more or less of the kick itself.
• Adjusting the band 1 Gain control lets you set the overall level of the kick and bass. If
the compression pulls the bass guitar down too much, you might increase the Gain
until the bass is right, then adjust the Attack value to control the kick drum punch
until it has a better balance.
• Faster attack times will let less kick through; slower times will let more of it be heard.
In fact, with too long of a setting, you may actually increase the dynamic range
between the loud kick and bass guitar, which isn’t what the example was all about.

C4 Plug-In Manual 26
Now for the “cymbal control” and de-esser, you’ll follow a very similar procedure that you
did for the bass band.
• Adjust the band 3 Threshold until you have some compression.
• Adjusting the Gain control lets you set the overall level of the “ess and cymbal” band.
• Setting the Attack too fast will destroy the consonants of the voice, so try about 12ms as
a starting point. Notice the fast release time in the preset, so that the compressor “gets out
of the way” as soon as the sound is gone.
• Adjust the Crossover so that you are affecting only the needed areas (using the Solo
button is very handy in this regard).

Now for some more fun! Bands 2 and 4 can be used as EQ controls. Since the Range is set to
zero for both of those bands, when you adjust Gain, you’ll see that each band simply moves as
a fixed offset (that’s what EQ is, after all).

As an UN-processor

Sometimes you might get a track or recording that has been previously processed, and
possibly not in a very flattering way. In other words, someone might have seriously over-
compressed the track.

To some degree the squashed dynamics can be restored by using upward expansion, which is
the exact opposite of compression. As the signal goes around or above the Threshold, the
signal is increased in gain.

Upward expansion takes more time to adjust because you must try to find the subjectively
equal settings of what was done to the sound, and even if you know the “numbers” on the
original processor, the numbers really don’t relate from one processor to the next very well.
• Load the Unprocessor preset.
• Notice that all Ranges are set to positive values so that the gains will be increased when
the signal goes around or above the Threshold.
• Adjust the Master Threshold for some reasonable expansion.

Now it is important to point out that the attack and release times are absolutely critical to the
way the expansion works. In most cases of overcompressed material, the peaks and punch
have been mightily squashed down, so a fast attack time will help restore these peaks. Longer
release times help bring the presence and sustain back into the material.

However, let’s go one step further and suppose that you have a mix that has “hole-punching”
or “pumping.” These are tricky, but can be restored to a degree. In the case of hole-punching,
this is when a compressor has overshoot of the gain reduction, that is, it over-reacts to a peak
signal and applies too much gain reduction to the signal. Many times the peak itself was never
compressed, just the audio after the peak, so you would want to use a slower attack time to
avoid expanding the peak even higher, and carefully adjust the release time to “fill in the
hole.” It’s tricky enough to do this on a wideband expander such as the C1, and even more so
on a multiband.

C4 Plug-In Manual 27
The best thing to do in this case is to try to determine if you should use a wideband expander
(such as the C1 or Renaissance Compressor). Using a multiband upward expander would be
best for situations where specific frequency ranges had been over-compressed, such as a mix
with too much compression on the bass. Another example would be too much compression on
a drum submix, where you need to restore the attack of the drums but not the low frequencies,
so you could use a mid- and high- frequency upward expander and ignore the lower
frequencies.

You can load the Unprocessor and simply Bypass any band you don’t need. Here’s another
tip: to bypass a band but still have it available as “EQ”, simply set the Range control to zero
and use the Gain control to set the EQ level in that band.

As a noise reduction processor

If you recall the principle of low-level gain and high-level gain explained previously, it is easy
to setup the C4 as a dynamic noise reduction processor, with up to four bands if needed.

To remind you just a bit, Gain is applied to the low-level signals, and Range is added to it on
high level signals.

To set up the C4 as a 4-band noise reduction processor:

• Find a section of audio where only noise is present, and loop it for preview.
• Listen to each band of noise separately (using Solo) and determine the amount of noise
reduction you want to apply to this band. Set Gain equal to the amount of noise reduction
wanted in each band (a negative value).
• Set Range to exactly compensate for the gain reduction in low levels — that is the Range
should be exactly the inverse of Gain (if Gain=-12dB, Range=+12dB).
• While previewing the noise segment, set Threshold in each band such that it is just
enough above the noise energy in this band, so that you hear enough noise reduction in
that band.
• It will be useful here to use a hard Knee setting (set the Knee control in the Master
control section to its maximum).

Now preview an audio segment where the wanted signal is present, and make sure it is indeed
enough above the Threshold(s) so that no gain reduction takes place (the yellow line is at 0dB
gain).

Pay attention to the problematic passages, where the signal fades out or other soft sections
where the audio comes closer to the noise level; careful adjustment of Threshold is required
there to avoid too much degradation of the signal itself.

C4 Plug-In Manual 28
Chapter 6 — Presets
Working with Presets: General Tips!
Here is a recommended order for adjusting a preset, even if you have no intention of “using
presets”. They are merely good places to start. Create your own library by using our User
Preset command in the Save Menu.
• In almost every setup, moving the Master Threshold first is the best starting point.
• Adjust the Master Range control for more or less dynamic processing (changes ratio
and amount of processing simultaneously).
• Then adjust the Master Gain so that if you Bypass, the sound is about the same level
so that it is easier for you to make comparisons.
• Next, adjust each band’s Threshold to get the desired amount of processing in the
band.
• Next, fine-tune the Attack and Release controls. Longer attacks may mean you have
to adjust the Threshold downward to maintain the action you want (and shorter ones
may mean you need to raise it).
• If needed, adjust the Gain of each band to re-balance the compressed outputs.
Loading Presets
Use the WaveSystem Toolbar at the top of the plugin to save
and load presets, compare settings, undo and redo steps, and
resize the plugin. To learn more, click the icon at the upper-
right corner of the window and open the WaveSystem
Guide.
Click on the arrow in the middle of the Toolbar (circled here
in yellow) to open the Presets Menu.

The Factory Preset Menu

In general, “factory presets” should be good starting places to save you time. They are easy for
you to tweak, and for the most part, they're relatively self-explanatory.

Full C4 reset
This is the default setting that C4 opens. It is a easily adjustable compression setup with
moderate Range. The Gain is set to zero so that it is essentially unity gain for low-level
sounds. Band 1 is set for low bass, to eliminate modulation distortion. Band 2 does the main
work. Band 3 is in a de-esser range, and Band 4 is the air band limiter.
Basic multi
Based on the default setting above, but with deeper thresholds, plus it has a positive Gain of
+4, so it is closer to a unity gain when bypassing for most mixed pop material with peaks
between -6 and -2dBFS.
Hard basic
Master Range is bigger, so the ratio is higher and there is more compression. However, the
attack times are slower than in Basic Multi, so the transients are still quite present and
untouched. This is a punchy preset.

C4 Plug-In Manual 29
Deeper
Not a “flat” preset, by any means, this has deeper Ranges on the high end, which means
the signal will be bassier as it gets louder, and more compressed in the high end as it gets
louder. Attack and release times are faster, so the compressor grabs more.

Low-level Enhancer
A classic loudness enhancer as described in Chapter 4 in the Low-Level Compression
section. As the sound gets louder, it approaches “flat compression”, but all low-level
sounds will have the bass and treble boosted, as seen by the upper edge of the purple Range
band.

This is not a particularly subtle preset. To reduce the boost, simply lower the Gain of Bands
1 and 4 (they are preset to 4.9, which is 3dB above the middle two bands). Try only 1dB
(set them both to 2.9) and then you have a very nice subtle low-level enhancement setup.

Upward Comp +3dB

A gentle upward compressor with flat response. It lifts the low-level sounds by 3dB at the
average Threshold of
-35dB. Lower the Master Threshold for more subtlety, raise it for more pronounced effect.

Note the crossover settings are different from the +5 setup. Band 1 is set to 65Hz for the
very low bass; Band 2 is the next octave and primarily deals with the fundamental of the
bass guitar and meat of the kick; Band 3 is very broad, from 130Hz to 12kHz; doing most
of the work; and Band 4 is the air compressor. These points give greater control over the
bass (dividing it into 2 bands), but have no “ess-band” range.

If upward compression provides too much of a boost in the highs (a common result due to
the lower overall energy of HF), then simply lower the Threshold in the high band.

Upward Comp +5dB

Similar to the previous setup, but with different crossover points, for different flexibilities.
This one is more similar to the Basic Multi, with crossovers at 75, 5576, and 12249, so that
you have bands for Low Bass, Broad Mid, “Ess” or presence band, and the Air. These
points give greater control over the high end (2 bands).

This is a more aggressive setting, the main difference being the crossover points, which
changes the Thresholds significantly from the +3 setup.

Easily made more or less aggressive by changing the Master Gain setting. If upward
compression provides too much of a boost in the highs (a common result due to the lower
overall energy of HF), then lower the Threshold in the high bands.

Multi Opto Mastering

Now we are going into areas that haven’t actually existed yet, to our knowledge. A
multiband opto-coupled device! This is a rather transparent setting for mastering and pre-
mastering. Even though ours is virtual, the gentle release times that become ever slower as

C4 Plug-In Manual 30
they come back to zero gain reduction really have the sound and behavior of opto’s, just as
the Renaissance Compressor does. The longish attack and release times of this setup let the
processor gently increase lower levels while having the classic setup of a high-level
compressor.
Changing the Master Release and making the release times significantly faster will still
preserve most of the transients but markedly increase the average level.

Multi Electro Mastering

The other end of the spectrum, insofar as the mastering goes, with much more aggressive
settings throughout than the Opto setting described previously. With fast Attacks and
Releases, deep Range, steeper slopes, ARC system, Electro release behavior, and hard
Knee, this one is starting to be a little dangerous if you push it (although certainly not over
the top).
With this setup and the Multi Opto Mastering preset as bookends, there are many levels
in between to provide varying levels and behaviors. Working with both of these presets
defines a very broad range of high-level compression settings to create. (We’ll leave that to
you!)

2-Band HF Noise Reducer

These low-level examples may seem a little inverted to what you would expect. For
instance, that a noise gate would have a positive Range. If you just remember that when
the signal goes around the threshold, then the Range becomes “active” and that the
Threshold is the halfway point of the Range. So whether Range is +12dB or –12dB, audio
6dB above and 6dB below the threshold is where the knees of the dynamic change will
occur.

Positive Range
Then, if Range is positive and Gain is set to be the negative of Range (opposite but equal),
then around and above the threshold all audio will be a 0dB gain (unity). Below the
threshold, the Range is not active, so the Gain (which is negative) “takes over” and reduces
that band’s gain. This is what gives the downward expansion.

Negative Range
Another seeming example of the “upside down” concept is that low-level compression
takes a negative Range. Again, remember that in the C4, whenever the audio is around the
Threshold, the Range is active.
So, if we set Range to negative, anything around or above the Threshold can be reduced in
gain. However! Here’s the tricky part: if we set Gain to perfectly offset the Range value,
then everything well above the Threshold has no effective gain change at all, which means
that everything well below it gets "lifted up." (If you take this just a bit further, you’ll
figure that all audio exactly at the Threshold will have half of the Range’s value in positive
gain).
4-band noise reducer
An aggressive noise reducer preset, with fast attacks (to preserve the original sound), fast
releases (to reduce noise quickly), four bands of operation (possibly more than you need), and

C4 Plug-In Manual 31
hard knee. If you don’t need a band (just solo it to see if there is really any objectionable noise
in that band), simply Bypass that band.

UNcompressor
Since there has been so much work done in the direction of multiband compression and
limiting, it seemed only fair that a preset that tried to go in the other direction would be
added.
Admittedly, there is most likely a bigger challenge in undoing an over-compressed signal
than in the original mis- take! Wideband upward expansion is probably the first method
you should try (with the Waves C1 or Renaissance Compressor), unless you can
positively identify a mix that has already had some multiband or de-essing (parametric)
type of compression mis-processing.
Otherwise, trying to use a multiband upward expander to fix a mix that had wideband
over-compression is not advisable, as the gain changes applied in the first place would
have been across the entire band.
However, as flexible as the C4 Multiband Parametric is in the other areas discussed in
this manual, it certainly is equally capable of producing amazing "un-compression" in the
multiband arena.
Keep in mind that the attack times are what create the transients, and if you’ve already
got good transients in the mix but the audio after the transients what is over-compressed,
make your Uncompressor Attack time longer, to avoid making even bigger transients.
Soloing each band and adjusting its Attack and Release times so that the transients are
natural, the compression is relieved and the audio sounds more relaxed and open is the
trick.
The preset has not attempted to set attack and release times, as this is so highly dependent
on the source material, we simply set all 4 bands to attack times which are moderate for
the frequency band, and equivalent release times across all four bands.

BassComp/De-Esser
A common problem with small studio mixes is the low end, due to near-field monitors,
improper room low- frequency absorption, beer, and demanding clients. Another common
problem is the lack of enough de-essers to go around, and furthermore, the insistence of
drummers bringing their full-size, heavy cymbals into the studio.
The result is often a mix with a low end that is too loud, and/or an improper balance
between the bass guitar and the kick drum, plus a high-end that might need de-essing and
“de-cymbaling”. The most challenging of these situations has very bright guitars and
cymbals and dull vocals. Of course, the best way to solve these issues is to de-ess in the
mix, use very light cymbals, and, well, better engineering on the low end!
This preset uses only two bands (the most common application of multiple C1s), for bass
compression/control, and de-essing.
Band 1 is set to 180Hz which covers the main part of the kick drum and almost all
fundamental notes of the bass guitar or other bass line. Band 2 is a bandpass de-esser
centered at 8kHz.

Attack and Release times are the critical. With a faster attack on Band 1, the kick can be
controlled separately from the bass line with reasonable precision. Soloing the band will

C4 Plug-In Manual 32
help in setting the Release time so that distortion is minimized (too fast a Release will
cause the compressor to follow the bass wave itself, a form of modulation distortion that
even multibands are susceptible to).
It’s the same for Band 3; the Attack time (at 12ms) allows enough transients of the snare
and consonants of the singer that there is not too much dulling of the sound, but the
sustained high-frequency material, such as esses and cymbals, may be controlled quite
well.
Bands 2 and 4 can be used as EQ, as the Range is set to zero.

BassComp/HiFreqLimit
A variation on the previous setup, except that instead of a bandpass de-esser, the entire
high frequency is a shelving compressor/limiter. Sometimes quite useful if there has been
too much “air EQ” applied in the source material.

Pop Vocal
Admittedly a bit trendy, this preset is not flat at all, with a significant boost to the high
end. Pop records, especially R&B ballads, have recently been produced with a very
bright sound. The common practice of boosting the highs from about 5kHz, plus plenty
of “air”, requires strong de-essing (sometimes twice!) to control the large increase.
This preset does both in one step, plus provides overall compression in band 2 (the broad
middle area does the most compression work).
For more effect, increase the Gain of bands 3 and 4, and increase the Range to match
(same as Gain but negative). In this way, the total gain reduction also increases as the
fixed gain increases.

Vocal
Basic compression for a singing voice.
• Band 1 is a de-popper, and may be bypassed, or to use as EQ, set Range to zero.
• Band 2 is the main compression band. One reason this is done is to avoid putting a
crossover point in the middle of the critical vocal range (300 to 3kHz). Even with
phase-compensated crossovers, the voice is the most demanding source and proof for
our ears, as we’ve been acclimated to it for a very long time and can detect very low-
level changes.
• Band 3 is a de-esser centered at 6.5kHz. Again it is easiest to adjust a de-esser by
listening to the sidechain, which means in the C4 you simply Solo the band.
• Band 4 is set to be an “air compressor” or limiter. Alternately, it can be a straight EQ
by setting the Range to zero.

C4 Plug-In Manual 33
Voiceover
Announcers like compression and need de-essing, so this preset provides both. As in the
Pop Vocal preset, the high end has a little boost (announcers like this as well).
To adjust EQ, change the Gain settings of each band. To control the amount of
compression, adjust the Thresholds. For a true “punch through the clutter” classic sound,
follow the C4 with the Waves L1, using its Voiceover preset.

Too Much Limiting

Now what exactly should we say about this preset?
You can call it instant radio if you wish, as it does represent the type of processing that is
applied by some radio stations in order to be as loud as possible, and they do so to
recordings that have already been processed to be as loud as possible! Great for loops and
remixes.

Not in the Menu

One example shown here but not in a preset simply shows 4 different configurations at
the same time: compression, expansion, EQ, and noise reduction. There’s not much of a
reason to make a preset for this, as the audio that requires this setup is not in very good
shape, and highly unlikely to match anything you might need!
• Band 1 is high-level compression (to control bass a bit) Band 2 is high-level
expansion (to add some low-mid snap) Band 3 is EQ
• Band 4 is low-level downward expansion (hiss reduction)

C4 Plug-In Manual 34
Chapter 7 — Essential concepts (and history)

Intro
The C4 is a wonderful, powerful tool, and although it offers many functions in a single
processor, nothing can replace your careful work in the process of mixing audio, using de-
essers in the right place, applying compression appropriately, and so forth.

Some of the trouble that multiband compression has caused has been merely because the
engineer “gets into” the sound too much. The solution is to try the most powerful control on
any audio device: the Bypass switch. If you check the sound in Bypass, and the sound really
isn’t better, it just sounds squished, then it’s logical to conclude you might have gone too far.
Of course there are many forms of music that require extreme processing as part of their
expression. require

Nice when done correctly

What is “correct” is certainly a highly subjective area, but let’s say that multiband compression
offers the chance to have compression with much less modulation distortion than a wideband
compressor. The multiband can also be considered to be an equalizer with the added advantage
that it tends to forgive too much boosting. If a mix needs a bit of de-essing, or high-frequency
limiting to “put the glass” on the mix, plus some moderate compression in the other ranges,
multiband processing is ideal.

A wonderful feature is the option to not do any processing in some bands: the strong suggestion
is don’t do it if it doesn’t need it. A simple example: many smaller studio mixes might need
some bass compression to tighten up the low end and a high-frequency limiter or de-esser to
help control excessive “esses” and cymbal crashes. At the same time, the production doesn’t
need any compression on the voices or guitars (mid bands), so you can simply have the bands 2
and 3 set with their Range=0, which means those bands are “off” (but the Gain is still active).
Try the BassComp/HighFreqLimit factory preset as an example. You’ll see that bands 2 and 3
are set to “flat” with the Gain controls, but since there is no Range value, then they will not
have any dynamic processing. In other words, you don’t have to use all 4 bands just because
they are available.

Where did multiband come from?

Multiband processors weren’t created for recording studios, but instead, as far as we know,
were originally developed for radio broadcasters who wanted to avoid the IM or modulation
distortions that resulted from wideband compressors. In the early days of radio (AM), it was,
and remains, not only illegal, but not very good for the transmitter to ever modulate past 100%.
To try to control this, compressors and limiters were used, but increased IM distortion would
result when they attempted to push the compressors and limiters harder. This was to achieve a
greater broadcast “reach”, as AM and shortwave radio actually can be picked up better the
“louder” it is; this is not true for FM, although heavy limiting and compression is widespread
in broadcasting.

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Briefly, modulation distortion occurs when one frequency band is modulated by another
one. The most egregious type of modulation distortion is when the low-frequencies
modulate everything else. Examples include a big bass note providing amplitude
modulation of the remainder of the music (the compressor is literally following the bass
wave up and down), or when you can hear the kick drum “pumping” the entire mix. This
makes a rather unlikable sound.
Radio needed a solution, and by using crossovers and multiple compressors, they simply
compressed each band separately, so that the kick drum and bass were compressed
without affecting any other part. Of course, this idea was taken to the absolute extreme,
with radio stations building up to 10-band compressor/limiters (and more), with highly
customized methods of determining when to compress, when not to, when to “freeze”
gain, etc. They also pushed the edge with limiting and clipping technology, as the idea
that people listen to the loudest radio station became a mindset in many program directors
around the world. This isn’t an accusation! Merely acknowledgement which radio owners
want the loudest clearest sound they can possibly get.

It is relatively well-known that a lack of dynamics is appropriate for some mediums (such
as car listening or clock radios) and some genre of music (industrial, techno, etc.). But it’s
unlikely that you might pick a song simply because it is the loudest on the radio, or at the
“listening bar” of a record store. You might want to remember this when the “competitive
bug” bites you, or a client demands a so-called “louder record”. You might have an
opportunity to help educate your client a bit about dynamic range and punch in the music,
and how to preserve it in their final product.

Summary
Multiband is a compression method that allows you a lot of control and a way to
dynamically adjust the EQ and dynamic range of a signal, while minimizing modulation
distortion. Such a device should be a very conveniently- adjusted processor (as opposed
to using a crossover with multiple compressors spread about the room, or across your
desktop, or buried in many menus). This is why the C4 is called the Multiband Parametric
Processor, as it is extremely flexible in bandwidth, dynamic gain behavior, response time,
plus in the ability to provide compression, expansion, or EQ, in each band, independently.

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