TC Electronic Triple C

Very easy to use. One of the best interfaces I've seen on a multiband compressor, software och outboard. Especially the gain compensation metering.

It sound very good. I use the digital in and outs directly to my DAW so I havn't tried the DA converters much and have no opinion on them.
I bought the unit as a way to get som multiband compression in my mastering. So far I've been using the TC Powercore MD3 plug-in. Not that the MD3 sounds bad, it's sounds fantastic, better than anything I've heard, but the demo time is running out and it costs 1000 euros. Just too much. I've also used the X3 multiband compression, also from TC but I never liked it. It sounds to sterile, to clean. It does something bad with my music. So for 200 euros i thought it could be worth to try Triple C. With the digital ins and outs I can patch it up directly in my mastering chain without any conversions.
So far I've been very pleased. It sounds good, not coloring the sound and adding the extra db of punch that I need. I usually go for a very low ratio, around 1:1.1 to 1:1.2 and adjust threshold to get somwhere around 4-6 db compression. It's not like the MD3, but then what is? Still it's good enough for me at the moment.
Tried it on vocals too and got good results. Multiband compression is often overlooked on vocals. When it works it makes a good jobb to keep the voice better focus in the mix.
As a bonus I think the envelope mode is interesting. Works like a transient expander. Had some problems first to get it to work right (it's more sensetive to tweaking) but after getting it right I've used it with great success. It can do wonders on bland and uninteresting drum recordings for example. Saved me more than once. Great bonus I think.

Looks sturdy to me. Expect years of service.

Had no reason to get in contact with TC so far

It's sounds good, has some good extra features, is easy to use and is an absolute bargain considering the second hand value of these units.

The Triple C is easy to use. I have worked with a lot of devices and usualy it's a bad sign when I have to read the manual more than once to get simple tasks done. This is not the case with the Triple C. It is very intuitive once you get the hang of the way TC handles user interfaces. I find Boss/Roland user interfaces a bit better. But TC is still very good. The presets are pretty good. It's very easy to take a preset and modify it the way you want. The manual describes the unit quite well and also goes into some background, which (I think) is important for using compression well.

I'm using the unit together with a lexicon MPX-1 in the effects loop of a Mesa Boogie Triple Rectifier. I don't know about other Mesa Boogie equipment but the recto loop sucks! 100% wet is not 100% wet! When using digital effects (that always have a slight delay due to the conversion and processing) in the loop you will get comb filtering. I had to modify my recto and to get a fixed 100% wet loop. Which is good for me, because when I use it, it is always 100% wet. After this modification the unit sounded AWESOME with the recto. No noise. No color. The compression is very natural and smooth. I play jazz, funk, rock and metal. This unit adds a lot to my sound without being noticable. I use different patches for different styles. Wah sounds work better for me in the single band mode. For other sounds I use multiband. Envelope mode doesn't work well for what I like to do with guitar. With the 3 band levels I can get my sounds the way I want them. My clean sounds are warm, thick, detailed and clear. The tube/warmth setting works quite well here. I like a lot of lows in my distorted sounds, with this unit I can get a thick low 'growl' without getting dark for my rythm sounds and solos cut through the mix.

In short: this unit gives you much more control over your sound than you have with the eq knobs on your amp in a way that no fx unit does. The sound is more consistent. The tube/warmth setting works very well for clean guitar, but for distorted guitar it's too much (anyway for me).

It has never failed me. The unit is well contructed, but the big rotating knob is not hard to remove. I used to own a G-major which is constructed in the same way and I lost the 'ring' knob. The dealer gave me a new 'ring' knob the next day.

Never dealt with directly with TC. But a lost knob was replaced by the dealer for free, so I think it's okay, but I'm not sure.

I like this unit a lot. TC never advertised this unit as a guitar effect, but it works great for me! I would rather lose my fx unit than this one. It realy enhances my sound without being noticable, that is, until you bypass it. I've worked with a lot of compressors before, but the 3-band multiband compression is awesome for it's price. I have the (cheap) mono version which is perfect for a guitar setup. If I would lose it, I would get one back (if I can find one). I rated this unit 10, but that was because I could not find the 11.

Editing is straight forward and easy. Nice large dual rotary dials.
Manual is small, metal spiral bound, concise and easy to follow.
There is a quick start manual too; I found it very useful.
No wall wart with this unit!!! Pro quality all the way.

Using it with a complex well-equiped studio. This unit is being monitoed through Mackie HR-824. Very quiet operation on all settings.
Everyone raves about the multiband compression, and it is excellent. I was very pleased with the envelope compression on drum sounds - very useable. The tube warmth parameter is interesting, but not to my taste. I'm a keyboard guy not a guitar guy so perhaps that's why. It always sounds like eq or fuzzyness is added that doesn't resemble any of the sonic properties of analog gear I own. I believe that manufacturers feel compelled to add it so their specs are comparable to others. Maybe other people will love it. This processor is a compressor and an impressive one without this feature.

Only had it 2 days, but the overall construction feels solid. Although it's not heavy, it's heavier than I thought...adds to that solid feeling.

Everyone I know says they are good. Thier web site is informative and almost logical in layout.

Using it on demo recordings. Would definitly replace if it were lost with the same unit. I love the metering system, the large graphic display, and of course the quality sound. I chose this unit as a replacement for another based on many excellent reviews on the web (including those prior to mine and Mix magazine). With an original retail price of $999.00 for the stereo version it's really hard to fault this unit when I purchased it new for $268.00.

Negatives: None, except the harmonic/warmth parameter means nothing to me, but I don't have golden ears so perhaps I just can't appreciate it.

Bottom line: Compressors are by nature not very sexy processors,
but there is plenty of sex appeal to this unit and
there's no substitute for a device that delivers
as promised.

mostly knobs. a FEW button presses required. MUCH simpler than expected.

i don't usually submit a review for ANYTHING within a week of purchase,......but i just gotta say THIS UNIT SOUNDS FANTASTIC!!!!!!
i am using it MOSTLY for the "multi-band" compression. i mixed a crappy cassette recording through it and it CAME TO LIFE. i ran a rough mix through it and it WENT 3-DIMENSIONAL ON ME. the "multi-band" mode works FANTASTIC!! i can't believe i picked this up for $220!!!!

never owned a TC product. looks to have that "built with experience" construction.

never called them.

ABSOLUTELY UNBELIEVABLE BANG-FOR-THE-BUCK!! if only used as a "multi-band" compressor at mixdown IT IS WORTH THE CASH. these things can be found for ridiculously LOW prices at the moment. what a great unit. it can function as a "standard" compressor" and has a unique "envelope" mode as well.

BTW: i am using the STEREO version.

The Triple C is a very, very simple multiband compressor. In spite of the simplicity, it has a very broad application spectrum including presets for vocal, bass, guitar, wind instruments, background vocals, drums (including individual drums and drum kits), and finalizing the mix.

Patch editing is very easy with this compressor. I referenced the manual to get a "feel" for the interface, then put it down and have been good to go ever since. My background, however, is synthesis - so I might lead you astray a bit with the "ease of use." It is certainly easier to get a consistent and reliable sound out of this than, say, a DX7.

This is the stereo version of the Triple C, software revision 2.02. I have no idea what was accomplished with each revision.

The triple C comes in two versions - single channel or stereo. The single channel allows sidechain connection and stereo linking of two units. The stereo version has a "switch" that allows it to work as a single channel compressor with the above features, or a stereo version.

It also comes with SPDF in/out for you digital people.

Quite possibly, this is the best sounding reasonably priced multiband compressor that I have heard. The reason that I bought an outboard compressor is that I was very dissatisfied with the quality of the sound from my built in and aftermarket compressors in my DAW. I used Waves, Steinberg, and Creamware and each one left sonic artifacts that I didn't like. None of them had a "clarity" or "transparency" under any kind of a load.

The Triple C will be as transparent as you need it to be, or squash the poop out of whatever - without getting too much in the way or leaving a trail of digital artifacts. Unless I clip the shit out of the input or output, it remains silent and processes the sound beautifully.

In addition to multiband mode, it has a full band mode, and an "envelope" mode that uses an ADSR-like envelope to modulate the compression amount independantly. Also, it has the best sounding tube-warmth emulator that I have heard from a digital box. AAMOF, I am very hard pressed to hear a difference between the warmth that this box generates and my tube direct box with some nice, warm tesla ecc83s tubes.

I have been using this to warm up and compress a few synths and a sampler. One of the synths, the K5000s, sounds especially cold and digital. When it is ran through the Triple C, it gives it a stunning richness.

Because of the triple compression, you can adjust it to bring out subtleties of the sound that would normally be hidden or drowned in the mix, or flattened by other compressors, especially when using synth patches that traverse a broad frequency.

I have also used it after my direct box to compress the sound from my electric bass. It has a quiet low B (cheap bass - bad wood, probably crappy 'lectronics too). The Triple C managed to bring out the low end without squashing the upper registers. But, that's the joy of multiband compression!

I have yet to use it as a finalizer, although it does have presets for this application, suggesting that it can be used as one.

The sound is so damn good with this box (with a price that places it in competition with DBX and Alesis - whose sound SUCKS, comparatively), I can't figure out why everyone doesn't line up outside of stores for one.

It adds no noise to anything. Quiet. Dead quiet. It's almost scary.

What? Of course it's reliable. What does it do, really? It sits in my rack and processes little electronic signals. Generally (yes I feel fortunate) my gear doesn't malfunction unless I loan it out, drop it, or keep it plugged in during a thunderstorm.

The knobs and buttons are tight. It didn't rattle when I used it for my wicked voodoo dances. So I quit using it for my wicked voodoo dances.

TC's customer support is wonderful. I contacted them when I needed more information about the Triple C versus the M2000 - the M2000 has a compression circuit, so I thought that I might get a decent effects box, too.

The gentleman with whom I spoke had an opportunity to tell me that the M2000 was "all that," but didn't. He said that I should consider the Triple C because it was specifically designed for compression. Further, he recommended that I buy a cheaper (but still TC) effects box (the M-One XL) because the reverb algorithm is updated and "better." He even went so far as to say that if cost was an issue, I should look on ebay!!!

Anyone that declines to sell an expensive product and offer cheaper (and in this case) better working alternatives is worthy of praise.

The Triple C is perfectly suited if you want artifactless compression. It fits in perfectly with dark ambient, experimental, and industrial, especially because of its programming flexibility - it can handle a broad range of sounds from something like a synth with ease.

It is used in my setup for synths and an electric bass. I have ran 'bout all of my gear through it to see what would happen - it really makes my digital synths, especially the K5000s and the Wavestation come to life.

I have to say, that I would be saddened if I couldn't replace this if it were broken or stolen. I don't plan on losing it in my own home as it is mounted to a rack.

I would consider purchasing another - that way I don't have to repatch so often. This unit is that good.

Very Easy to use...manual is fairly clear, but you just need to play with the unit, like all effects. Easy to get a good sound out of it.

I totally disagree with the previous review. I do NOT use it for studio work at all. I plug it directly into the input of my combo amp...Carvin MTS3212...and use it as a compressor...and get a great sound out of it. At times, the sound is very Pat Metheny...as on his recordings...and manipulating the knobs can give you a very nice sustained tone for but clean, for rock and blues. You can also use it to fatten up your sound considerable, in addition to the sustain....and the presets are actually usable for guitar...even though they are meant for studio editing. In addition, the multiband feature, lets you also use it as a quasi parametric equalizer, and since it uses knobs...you can brighten up your humbuckers on the fly...and get rid of any mud...or brighthen up the sound, if you overly compress the signal. This is a tool, and like any....needs to be played with a bit, to get your sound. But it is in there. I use archtops, semi-hollow, and solid bodies with this unit, both humbucker and single coil.

Very reliable....bullet proof. It's TC Electronic.

N/A

If you're a guitar player, get it...it works...and will improve your sound.

I just wanted to comment that this unit is NOT meant for guitar players unless you use a seperate pre amp/amp set up. You can read my disscusion with TC's super fast email technical support below. Hope it helps!

Hi,

I just bought a mono triple c. I play electric guitar. I just read on your web site that you can't go straight from your guitar through the triple c and into your amp.

1.Can you go through the effects loop?

2.How can I use this thing with a combo amp? I own Mesa Boogies which have a parallel effects loop.

3.Do I need a separate preamp/amp set up to use it?

4. How come I can't find info on this anywhere on your site?

Thanks.

Don

Response
Dear Don,

Thank you for your questions.

Preferably you should use it in a serial loop, in a lot of parallel loops, even with the mix level set to 100% you will get comb filtering. (I GOT THIS WITH MY MESA BOOGIES)
Normally you would put a pre-amp or DI in front.
We did not build the Triple-C with any guitar setup applications in mind, that's why there is no info on using the Triple-C with your Guitar Amp.

Best Regards,


User Support
TC Electronic

I have the single channel model, v1.01.

The knobs on the front panel are "soft knobs", so they aren't active until you cross the point where the parameter is currently set. So when you wiggle a knob the display indicates the current level until you move the knob across the set level and then it changes. Unfortunately if the knob happened to be set on the parameter level you can't read the original value.

The meters are a bit unconventional but pretty cool once you get the hang of them. Note that you can't set individual compression ratios and thresholds etc. for the three bands, just individual settings for makeup gain.

The presets are handy, but once you've defined a user preset there doesn't seem to be a way to erase it other than overwriting it. I like being able to store my presets so I can return to an old project with all the settings intact. I like the "Tube Bass Comp" preset on guitar. Most of the presets require tweaking but get you in the general neighborhood of their description.

The manual is spotty, but not terrible. For instance, there is a parameter called "comp style", but the manual never tells you how this parameter affects the sound. The menus are pretty easy to get around. I find this very easy to set up in both digital and analog mode. I have not used the side-chain feature. Some of the MIDI Continuous Controller assignments in the manual are incorrect, but once you figure out which is which the unit responds smoothly to MIDI control.

This compressor has plenty of features. I like the push-buttons for look-ahead mode and softlimit. The display is excellent so it is easy to tell what mode you are in and exactly what is happening to the signal. I like the way it returns to your last settings after a power cycle.

I use this as a general insert compressor for my DAW as well as the front end of my guitar recording chain. It sounds very good to my ears, but I haven't run any high end analog compressors to compare it against. It doesn't add preceivable noise and the A/D converters sound very smooth.

I use a compressor to control dynamics, not to color the sound. The Triple*C succeeds in this quality.

No problems so far.

t.c. electronic has been excellent about responding to my emails.

I play pop/rock and the Triple*C works just fine with that. This is my first stand-alone recording compressor (I've used DAW plug-ins, guitar stomp-boxes and the comps in multi-effects units like the Ensoniq DP/4). I bought a Presonus Blue Max but returned it because there was no threshold control. Compressors are about as un-sexy as you can get in terms of a signal processor, but incredibly useful. Eventually I plan to get another single channel Triple*C as well as a stereo version.

This is just a short follow-up on my previous raving review. It's not a good idea reviewing an item such a short time after bying it, as the initial excitement is bound to color the judgement. After using it for a couple of months I'm happy to inform, it still works.
I'm not as hard on the limiter as initially, but I still use it as a combined limiter/Compressor. I pipe the signal out in 24 bits and straight onto my hard drive via the digital input of my soundcard. Superb soundquality! Recently did a remix of some pieces by my little-brother. They were made using Fast-tracker and a Soundblaster card and MP3'ed to make the sound even worse. I put them through the Triple C and added a bit to the top and doubled the output volume. The result was good, very nice.
On a general note, the Triple C tightens up a mix, brings out more detail and raise the output without intruducing pumping, noise or any other artifacts. In addition it has 24 bit output (very useful!) and a very smooth limiter. The optional "tube distortion" does not sound nice on a full mix, muddying it to various degrees, but it probably works fine on single tracks.

After more extensive use of this unit, than before my previous review, I will perhaps recommend this unit even stronger than before. It's not a magic box, but it does subtle things to an already good mix to make it even better. Shortly put, these are; tighter mix, louder mix (but not unpleasant) and it brings out the details.

As previously mentioned, take time to twiddle the knobs. All the presets are for single instruments, not entire mixes. (guess TC still wants people to buy the Finalizer, downplying the mastering abilities of the Triple C).

My unit is the stereo version.
The manual covers the features but is lacking when it comes to practical use. I feel a couple of practical examples would fit in great, especially when it comes to creating userpatches and storing them.
Editing patches is easy and painless as soon as you find out how to store them (select store in the menu and push the big dial twice).
Having two knobs for adjusting the crossover frequencies would be great, instead of having to go via buttons and into the menu.
Having said that, it's nice that the unit has proper knobs for adjusting most parameters. TC tend to favor buttons on most units.
However the knobs are naturally not analoge as you can only select a set of predefined values for each parameter.

All features are pretty straightforward to edit and the little menu is well organized.

This is the interesting bit.
I was looking into buying a masterprocessor and ended up having to choose between the TC Finalizer Express and the Focusrite Mixmaster. Disliking the preset nature (25 compressor presets without editing) of the Finalizer Express I stumbled upon the Triple C and bought it for the purpose of mastering.
First impression was very dissapointing. I was using one of the factorypresets on some pretty intense techno I made and it was horrible. Understanding that the presets are made for single sources and not for mastering demanding mixes I fooled around with the parameters for a couple of days without seing the light (for mastering purposes!).

It was not until I ripped some of my favourite music (fat boy slim, prodigy) and had a look in WaveLab that I understood what I had to do.
I had to violate the Triple C, mutilate all internal organs. I had to turn the Triple C into a brutal limiter, boosting the signal far beyond overload and lopping the kickdrum peaks straight off. An uncompressed song (from Rebirth) with a very dominating 909 kick that I had been trying to control for days suddenly fell into place.

The limiting capabilities of the Triple C are awesome. Now, I'm overloading the unit excessively, violating it, so the softlimiter is more on than off. With the softlim and look-ahead options enabled the Triple C can handle severe "misuse" without introducing noticeable distortion. Needless to say a limiter configuration has to be combined with proper use of the compressor as well. Set the threshold high (-12 dB) and use a big ratio (6:1). Also, make sure the attack is short and the release is pretty long. Now, boost up the makeup-gain till the softlim is screaming and see what happens. A more well balanced mix than the one I used will call for less dramatic limiting.

In addition to the great compressor and softlimiter, the box also has digital in and outs. They are easy to configure (44,1 kHZ and 48 kHz) and works great. I'm dithering my digital output from 24 to 16 bit before saving the mix in wavelab. The dithering algorithm of the Triple C works great (prefer that to the dithering in wavelab), and leaves the sound open, especially if you max out the dynamic range in the way I described over.

The Triple C also has tube-simulation, which I believe is better to use on single sources instead of an entire mix. With the tube-sim applied to a entire mix, I feel the mix tends to get cluttered during busy parts. It's however well worth experimenting with if the music does not have lots of massive drums and cymbals.

All in all I feel this box is very well capable of what I hoped, mastering demanding mixes in a brilliant way, boosting quiet tracks in a mix and compressing/limiting bass and drums.

As other TC gear, the box is noiseless.

This is a new box and I've had no problems. Don't expect any problems either, I'm not gigging it. Knobs and buttons seems sturdy, though the case is pretty light (which I prefer) and probably don't take much beating.

No experience with repairs and I've done no upgrades.

I do techno, but this box is suitable for any kind of music, from the softest voices to hammering guitars.
If this unit were stolen I would not hesitate to buy a new one, especially as the price recently dropped considerably, it's unbeatable.

As mentioned previously I was originally considering the TC Finalizer Express or the Focusrite Mixmaster. It's maybe a bit unfair to compare the Triple C with these units as the Finalizer and Mixmaster have equalizer as well, but the multibandcompressor is the most important part of the mastering units and this is were the Triple C blows Finalizer Express out of the water and probably competes very well with the Mixmaster (Mixmaster don't have adjustable crossover frequencies between the three bands).

On top of this the Triple C is half the price of the Finalizer Express and the Mixmaster.

Having praised the box, remember that compression/limiting techniques requires attention and skill no matter how good the compressor is. Don't get let down by initial dissapointment, try to understand how your favourites compress their music and expect to use not only hours but days for learning, especially if using it for mastering!

Check it out.