T-RackS 3 has high-end DAW mastering and mixing, with a suite of 9 analog-modeled and digital Dynamics/EQ processors, offering unparalleled audio quality with scores of unique features.T-RackS 3 has all the tools you need to create superb, tube-toned or digital-tuned mixes and masters.
Includes:
T-RackS processors:
1. Vintage Tube Compressor/Limiter model 670 (based on the Fairchild 670)
2. Vintage Tube Program Equalizer (based on the Pultec EQP-1A)
3. Opto compressor (based on the finest mastering Opto-compressor)
4. Intelligent, multi-algorithm Brickwall limiter
5. High precision, high definition Linear Phase Equalizer
Classic T-RackS processors:
1. Classic T-RackS Compressor
2. Classic T-RackS Multi-band Limiter
3. Classic T-RackS Clipper
4. Classic T-RackS Equalizer
- Configurable mastering/mixing chain - run up to 12 parallel/series processors
- Complete built-in metering section with Peak, Perceived Loudness, Phase, and RMS meters, plus a Spectrum analyzer with Peak, RMS and Averaging indicators
- Standalone and plug-in versions available in the same package for use in all the most popular native DAWs
- High-fidelity oversampling with crystal clear transparency, for high quality audio processing throughout the entire signal path
- SCC™ technology coupled with IK's unique DSM™ technology provides the most realistic software emulation of vintage gear to date
- Extremely easy to use, with style-based presets, full chain visualization, one-click single module or chain bypass, "compare" function, multiple audio processing in standalone mode, and much more
T-RackS 3 has all the tools you need to create superb, tube-toned or digital-tuned, mixes and masters. Its rich, warm sound combines tube-modeled and state-of-the-art digital processors on top of its classic top-notch analog classics. A modular chain gives you full control and easy navigation/compare features. A complete metering section keeps all the most important variables of your sound under control. A truly superior mastering and mixing system that will put a polish on your tracks you may have never thought possible. All this, while adding the beautiful warmth and space of the tube devices it emulates.
Vintage Tube Compressor/Limiter model 670
This model is based on the Fairchild 670. With a faithful reproduction of every control, this is an incredibly accurate model that captures every nuance of one of the best Fairchild units available.
Vintage Tube Program Equalizer
This model is based on what is universally known as one of the most musical program Eqs ever made, the Pultec EQP-1A.
Opto compressor
Optical compression has a special sonic character that audiophiles can truly appreciate.
Intelligent, multi-algorithm Brickwall limiter
Multi-algorithm Brickwall limiter that can really make your masters loud without squashing them to a lifeless sound (unless you want that!).
High precision, high definition Linear Phase Equalizer
An accurate, high definition, high precision EQ that can be trusted for delicate Mastering tasks with 6 completely identical bands that can be set to all available filter types, and that can span the whole spectrum range.
4 Classic T-RackS processors:
- Classic T-RackS Compressor, a Classic tube stereo compressor/leveler designed for mastering.
- Classic T-RackS Multi-band Limiter, a Multiband master stereo limiter.
- Classic T-RackS Clipper, a soft-clipping stage to create warm, saturated mastering effects.
- Classic T-RackS Equalizer, a state-of-the-art six band parametric equalizer, modeled on classic top quality analog gear.
Vintage Tube Compressor/Limiter model 670
Based on the the Fairchild 670. With a faithful reproduction of every control, this is an incredibly accurate model that captures every nuance of one of the best Fairchild units available.
The original unit delivers a touch that makes everything that passes through it shine and sound more musical and emotional, and was analyzed for months for every single detail to unveil all of its secrets.
IK’s unique analog-modeling experience and exclusive DSM™ (Dynamic Saturation Modeling) technology push this model to the limit and beyond, soa custom was developed, proprietary method dubbed SCC™ (Sonic Character Cloning) – with results that can only be described as magic!
Vintage Tube Program Equalizer
Based on the Pultec EQP-1A. Extremely accurate modeling of two real world units, known to have "the sound", with sonic performance that is indistinguishable from the originals, thanks to IK’s DSM™ and SCC™ technology. Stereo or MS operation.
Opto compressor
Optical compression has a special sonic character that audiophiles can truly appreciate. This analog-modeled module faithfully recreates that particular (and extremely musical) “movement” that characterizes only the best opto compressors. An important characteristic of optical compression is the total absence of distortion and coloration during gain reduction, and you can expect the same character and performance from this digital recreation. Stereo or MS operation.
Intelligent, multi-algorithm Brickwall limiter
Multi-algorithm Brickwall limiter that can really make your masters loud without squashing them to a lifeless sound (unless you want that!). Digital brickwall limiting is accurate and transparent. Selectable algorithms to match the best limiting style for each program type.
- High precision, high definition Linear Phase Equalizer.
- An accurate, high definition, high precision EQ that can be trusted for delicate Mastering tasks.
- 6 completely identical bands that can be set to all available filter types and that can span the whole spectrum range (any kind of overlap is possible).
- Switchable between minimum and linear phase characteristics.
Stereo or MS operation.
4 T-RackS classic processors
- Classic T-RackS Compressor - classic tube stereo compressor/leveler designed for mastering.
- Classic T-RackS Multi-band Limiter - multiband master stereo limiter.
- Classic T-RackS Clipper - soft-clipping stage to create warm, saturated mastering effects.
- Classic T-RackS Equalizer - state-of-the-art six band parametric equalizer, modeled on classic top quality analog gear. Classic T-RackS Equalizer can now be used in Stereo or MS modes. They maintain their great original sonic character, and have only been improved upon to line them up with the absolute "no compromise" in sound quality of the T-RackS 3 signal path. Classic T-RackS Equalizer can now be used in Stereo or MS modes.
Modular mastering/mixing solution with 12 processing slots
- Selectable 12-processor slot audio chain, arranged in two rows of 4 slots for parallel processing plus 4 serial final slots.
- Modules can be easily switched on/off with a single click, individually or all at once, at any time for quick a/b on the monitored audio, without having to navigate or scroll around.
- Single module or global chain visualization options
- A "compare" function with volume matching allows comparison between the sound of the processed version and the original, so that you can really judge the sound changes, and not be mislead by a volume increase.
Accurate, complete and truly useful Metering
T-RackS 3 includes a high precision complete metering section. This includes:
- A precision three-scale Peak meter with accurate sample indicators and real digital “Over” indication.
- Real Perceived Loudness meter. This is an amazingly useful meter that is not included on most software processors. It shows the REAL loudness that will be perceived on your masters. Compare your preferred records with your works on this meter, and you’ll immediately see where to go with loudness management.
- Phase scope, with options to match the style and indication you’re used to
- Phase correlation
- Spectrum analyzer with Peak, RMS and Averaging indicators.
- RMS meter.
- Loudness and RMS metering “optimal” zones’ indication, selectable by genre and style.
All-platform plug-ins and standalone versions in the same packages
- Plug-ins fully integrate with popular DAWs
- Standalone mode allows for loading multiple audio files, previews them with all-independent settings and processes all of them with a single click
- Standalone mode includes extremely high quality sampling rate conversion to write 44.1 kHz CD files, starting from any sampling rate
- Built-in dithering with various options
- Automation made easy: you can take snapshots within each song and automate processing parameter changes during the song, for example, when passing from verses to choruses, etc, all with a single click
- Non-destructive basic audio editing
High transparency, extremely high quality audio processing throughout the whole signal path
You may think digital processors are transparent in general, and of a quality high enough for audio mastering. That's not always true. Very simple processing like a filter or a dynamic gain change can literally ruin your sound without any possibility of rescue if it’s not performed at the highest possible quality.
T-RackS 3 delivers purity, transparency and fidelity. If you are familiar with the sound of top quality analog and digital hardware equalizers that are used daily in top mastering houses, you'll immediately recognize the quality and purity typical of those units here, and if you're not, you'll experience what high quality equalization means.
Many digital processors use oversampling to achieve better sound. Unfortunately, many of them, under critical listening sessions, can be found to achieve no significantly better (or even slightly worse) results than the regular sampling rate option. This is because the upsampling and downsampling processes are not done at an adequate level of quality, in other words: typically what is improved by running a processor at double sampling frequency is partially compromised by the loss of quality in the upsampling and downsampling process. There are only a few pieces of gear, mainly extremely expensive hardware that really realize oversampling the way it should be done. T-RackS 3 is one of them. The result is a process that has no side effect at all on the sound: total transparency. So what you hear is exactly the same sound of the processor running at double sampling rate, with no side effects.
SCC™ technology
SCC™ has been developed to "clone" the true behavior of an analog vintage processor down to its finest level of sonic detail for a faithful reproduction of all its tonal characteristics. This emulation technology produces results that are indistinguishable from the originals, even for the professionally trained ear.
Many pieces of vintage gear tend to have original and interesting circuit topology, due to the creative solutions that engineers were sometimes forced to put into place in order to overcome the limitations of components' technology. Vintage components' technology (many of which can't be found anymore because their technology became obsolete and un-economical) as well as their aging (some of the best sounding devices are 40-50 years old) played fundamental roles in giving these devices a unique musicality that is what the purist would define to be "the unmatched" by even the most advanced processors today. And finally, many of the unique sonic characteristics of these magnificent vintage units sometimes depended on erratic and unpredictable behavior of their electronics that would be considered unorthodox and unusable by today's science and standards.
SCC™ technology has the ability to integrate all of the above and turn it into a mathematical algorithm that, for the first time, is able to take into consideration all of these complex variables and get an exact "clone" of the original. This is software emulation evolved to a sound quality never heard before.
Glossary
Stereo mode
This is the conventional way you would apply equalization on a stereo signal, where you would use one EQ channel to process the L side and another EQ channel to process the R side. The two EQ channels may be set identical or not, depending on your needs.
MS mode
This way the stereo signal is encoded to M-S before applying equalization and decoded back to Stereo after the EQ has been applied. M-S means “mid-side” and allows for independent control of the “center” part from the “sides” or “lateral” part of the musical program. So instead of being able to individually work on L and R channels you will be able to process the “center” and “lateral” part of your mix. This can be very useful in many cases, for example where a mix presents a weak vocal intelligibility. In this case, you would apply mid boost to the M-channel only (center) without touching the mid frequency response on the lateral part, where you may have guitars.
Oversampling
Most of today’s digital audio has a sampling rate of 44.1 or 48 kHz. High-resolution digital audio is used sometimes but is still far from being defined as a standard. Unfortunately 44.1 and 48 kHz sampling rates are simply not enough for extremely high quality audio processing, especially for high frequency filtering and equalizers. A technique that can be used is called Oversampling, where the audio signal is resampled at a higher (typically 2x or 4x) sampling rate, sent to the processor and then down-sampled to the original rate. This allows for the processor to deliver better quality because it runs at a higher sampling rate.
Loudness
Characteristic of audio to seem louder or quieter when played, in comparison to other audio.
RMS
Root Mean Square. Shows the “power” of the audio signal over a certain time window, this indication can give better “audio volume” representation than conventional peak meters.
Brickwall Limiter
A digital audio processor where you can set an absolute maximum level that the audio signal is not allowed to exceed at all.
Linear Phase Equalizer
A particular type of audio equalizer (that can only be made with numeric computation, in the digital domain) that only alters the level of certain audio spectrum regions, without affecting the phase response on the intervention range or surrounding frequencies.
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Audio Editing & Mastering
