H i g h - E n d M a s t e r i n g & M i x i n g S u i t e9 D y n a m i c s / E Q p r o c e s s o r s , f u l l m e t e r i n g , p l u g - i n a n d s t a n d a l o n e

T-RackS®

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P L E A S E N O T E

T-RackS®­ is­ a­ registered­ trademark­ property­ of­ IK­Multimedia­ Production.­All­ other­ product­ names­ and­ trademarks­ are­ property­ of­ their­ respective­owners,­ which­ are­ in­ no­ way­ associated­ or­ affiliated­ with­ IK­ Multimedia.­All­ names­ of­ products,­ artists,­ bands­ and­ records­ are­ used­ solely­ for­ the­purpose­ of­ identifying­ the­ specific­ products­ that­ were­ studied­ during­IK­ Multimedia’s­ sound­ model­ development­ and­ for­ describing­ certain­types­ of­ tones­ produced­with­ IK­Multimedia’s­ digital­modeling­ technology.­Use­ of­ these­ names­ do­ not­ imply­ any­ cooperation­ or­ endorsement.­­

Fairchild®­is­a­trademark­property­of­Avid­Technology,­Inc.

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T-RackS®

I - Contents ­­­­­­­­­3

T-RackS®

Table of Contents

I Contents­ 3

II Interface­ 6

III License Agreement­ 8

IV T-RackS 3 versions­ 11

Chapter 1 What is T-RackS 3­ 13­ 1.1­ Introduction­ 13­ 1.2­ What's­new­in­T-RackS­3­ 13­ 1.2.1­ 9­module­processors­ 14­ 1.2.2­­ 12­processing­slots­mastering­chain­ 15­ 1.2.3­­ Accurate,­complete­and­truly­useful­Metering­ 15­ 1.2.4­­ All-platform­plug-ins­and­standalone­versions­in­the­same­package­ 16­ 1.2.5­­ High­transparency,­extremely­high­quality­audio­processing­ 16­ 1.2.6­ SCC™­technology­ 17­ 1.3­­ Block­diagram­ 17­ 1.4­­ Architecture­ 18­ 1.5­ Interface­ 18

Chapter 2 Getting started­ 21­ 2.1­­ Using­T-RackS­as­a­Standalone­­ 21­ 2.1.1­ Starting­T-RackS­in­standalone­mode­ 21­ 2.1.2­ Loading­and­playing­files­ 24­ 2.1.3­ Inserting­processors­ 25­ 2.1.4­ Processing­your­master­ 26­ 2.1.5­ T-RackS­3­Project­ 27­ 2.2­ Using­T-RackS­as­a­Plug-in­ 29­ 2.2.1­ Pro­Tools­ 29­ 2.2.2­ Cubase­ 29­ 2.2.3­ Nuendo­ 29­ 2.2.4­ Logic­Pro/­Logic­Express­ 29­ 2.2.5­ Digital­Performer­ 30­ 2.2.6­ Live­­ 30­ 2.2.7­ Sonar­ 30­ 2.2.8­ GarageBand­ 30­ 2.2.9­ Acid­ 30­ 2.2.10­ Tracktion­ 31­ 2.2.11­ Riffworks­ 31

Chapter 3 General controls­ 33­ 3.1­ Double­Chain­ 33­ 3.2­ Compare­function­­ 34­ 3.3­ Presets­ 34­ 3.4­ A-B-C-D­settings­ 36­ 3.4­ Preferences­ 36­ 3.5­ Info­ 37

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T-RackS®

I - Contents

­ 3.6­ Lock­­ 38­ 3.7­ General­controls­(standalone)­ 38

Chapter 4 T-RackS 3 module processors­ 43­ 4.1­ Vintage­Tube­Compressor/Limiter­model­670­ 43­ 4.2­ Tube­Program­Equalizer­model­EQP-1A­ 44­ 4.3­ Opto­Compressor­ 46­ 4.4­ Intelligent,­multi-algorithm­Brickwall­Limiter­ 47­ 4.5­ High­precision,­high­definition­Linear­Phase­Equalizer­ 49­ 4.6­ Classic­T-RackS­Compressor­ 50­ 4.7­ Classic­T-RackS­Multi-band­Limiter­ 52­ 4.8­ Classic­T-RackS­Clipper­ 54­ 4.9­ Classic­T-RackS­Equalizer­ 55

Chapter 5 Metering­ 59­ 5.1­ Peak­Meter­ 59­ 5.4­ Perceived­Loudness­ 60­ 5.3­ RMS­ 60­ 5.5­ Correlation­ 61­ 5.6­ Spectrum­Analyzer­ 61

Chapter 6 Automation­ 63­ 6.1­ Automating­parameters­ 63­ 6.2­ Left­Pane­ 64­ 6.3­ Right­Pane­ 65

Chapter 7 Mastering tips­ 67­ 7.1­ Introduction­ 67­ 7.2­ T-RackS­3­chain­setup­tips­ 67­ 7.3­ Comparing­original­mixes­with­the­T-RackS­processed­master­ 67­ 7.4­ Loudness­ 68­ 7.5­ Simple­mastering­chain­ 68­ 7.6­ Advanced­mastering­chain­ 69­ 7.7­ T-RackS­3­models­tips­ 70­ 7.7.1­ Vintage­Compressor­Model­670­ 70­ 7.7.2­ Opto­Compressor­ 71­ 7.7.3­ Linear­Phase­Equalizer­ 72­ 7.7.4­ Brickwall­Limiter­ 73­ 7.7.5­ Vintage­Program­Equalizer­EQ-1A­ 74­ 7.8­ Managing­Latency­ 74­ 7.9­ Master­your­room­ 75

Chapter 8 Troubleshooting­ 77

Chapter 9 Support­ 81­ 9.1­ User­Area­ 81

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T-RackS®

I - Contents

II - Interface­­­­­­­­­6

T-RackS®

New­presets­management­with­GLOBAL­chain­and­SINGLE­

processor­presets

5­new­processors­in­addition­to­T-RackS­4­classic­processors­for­a­total­of­9­mixing/mastering­

processors

Standalone­and­Plug-in­in­the­same­package

T-RackS Interface

II - Interface ­­­­­­­­­7

T-RackS®

New­modular­mastering/mixing­chain­with­up­to­12­parallel/series­processors,­one­click­single/global­bypass,­volume-adjustable­compare­function

New­standalone­version­with­multiple­audio­file­processing,­waveform­display,­FADE­IN/FADE­OUT­controls,­LOOP­auditioning,­multiple­SNAP­points­for­automating­audio­processing­points,­single/multiple­file­PROCESSING­up­to­32­bit/192­KHz­WAV/AIFF­files

New­complete­built-in­metering­section­with­Peak,­Perceived­Loudness,­Phase,­RMS­meters­and­Spectrum­Analyzer­with­Peak,­RMS­and­Averaging­indication

III - License Agreement­­­­­­­­­8

T-RackS®

License AgreementEND-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT

Please­read­this­document­carefully­before­breaking­the­seal­on­the­media­package.­This­agreement­licenses­the­enclosed­software­to­you­and­contains­warranty­and­liability­disclaimers.

By­breaking­the­seal­on­the­media­envelope,­you­are­confirming­to­have­taken­notice­of­terms­and­conditions­of­this­agreement­and­you­acknowledge­your­acceptance­of­the­software­as­well­as­your­acceptance­of­the­terms­of­this­agreement.­If­you­do­not­wish­to­do­so,­do­not­break­the­seal.­Instead,­promptly­return­the­entire­package,­including­the­unopened­media­package,­to­the­dealer­from­whom­you­have­obtained­it,­for­a­full­refund.

1)­DEFINITIONS

“EULA”­means­this­end­user­license­agreement

“IK­Multimedia­Product”­means­the­software­program­included­in­the­enclosed­package,­and­all­related­updates­supplied­by­IK­Multimedia.

“IK­Multimedia­Product”­means­the­software­program­and­hardware­(if­any)­included­in­the­enclosed­package,­the­related­documentation,­models,­multi-media­content­(such­as­animation,­sound­and­graphics)­and­all­related­updates­supplied­by­IK­Multimedia.

“Not­for­resale­(NFR)­Version”­means­a­version­of­IK­Multimedia­Product,­so­identified,­is­intended­for­review­and­evaluation­purposes,­only.

2)­LICENSE

The­“IK­Multimedia­Product”­is­protected­by­copyright­laws­and­international­copyright­treaties,­as­well­as­other­intellectual­property­laws­and­treaties.­The­“IK­Multimedia­Product”­ is­ licensed,­not­sold.­This­EULA­grants­you­the­rights­as­specified­here­below.­All­other­actions­and­means­of­usage­are­reserved­to­the­written­permission­of­the­right­holder­IK­Multimedia­Production­Srl:

Applications Software.­The­“IK­Multimedia­Product”­may­be­used­only­by­you.­You­may­install­and­use­the­“IK­Multimedia­Product”,­or­any­prior­version­thereof­for­the­same­operating­system,­on­up­to­three­(3)­computers,­provided­that­(a)­each­computer­is­owned­by­(or­leased­to)­and­under­the­exclusive­control­of­the­licensee;­(b)­the­program(s)­shall­NOT­be­used­simultaneously­on­more­than­one­machine,­and­(c)­any­computer(s)­with­IK­Multimedia­software­installed­shall­not­be­sold,­rented,­leased,­loaned­or­otherwise­be­removed­from­the­licensee’s­possession­without­first­removing­(uninstalling)­the­licensed­software,­except­as­provided­in­Paragraph­4­(below)­pertaining­to­“Software­Transfer”.

Storage/Network use.­You­may­also­store­or­install­a­copy­of­the­“IK­Multimedia­Product”­on­a­storage­device,­such­as­a­network­server,­used­only­to­install­or­run­the­“IK­Multimedia­Product”­on­your­other­computers­over­an­internal­network;­however,­you­must­acquire­and­dedicate­a­distinct­license­for­each­user­of­the­“IK­Multimedia­Product”­from­the­storage­device.­Any­given­license­for­the­“IK­Multimedia­Product”­may­not­be­shared­or­used­concurrently­or­otherwise­on­different­computers­or­by­different­developers­in­a­given­organization.

3)­AUTHORIZATION­CODE

The­“IK­Multimedia­Product”­only­functions­when­you­are­in­the­possession­of­an­authorization­code.­You­will­receive­an­authorization­code­upon­complet-ing­the­authorization­code­request­procedure.­Once­your­authorization­code­is­activated,­you­may­use­the­product.

You­agree­to­follow­the­authorization­code­request­procedure­and­will­provide­true,­accurate­and­complete­information­about­yourself.­If­you­provide­any­information­that­is­untrue,­inaccurate,­not­correct­or­incomplete,­or­IK­Multimedia­has­reasonable­grounds­to­suspect­that­such­information­is­untrue,­inaccurate,­not­correct­or­incomplete,­IK­Multimedia­has­the­right­to­suspend­or­to­revoke­the­license.

The­termination­of­the­license­shall­be­without­prejudice­to­any­rights,­whatsoever,­of­IK­Multimedia.

4)­DESCRIPTION­OF­OTHER­RIGHTS­AND­LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly.­You­may­not­ reverse­engineer,­decompile,­or­disassemble­ the­“IK­Multimedia­Product”,­except­and­only­to­the­extent­that­such­activity­is­expressly­permitted­by­applicable­law­notwithstanding­this­limitation­of­components.­The­“IK­Multimedia­Product”­is­licensed­as­a­single­product.­Its­component­parts­may­not­be­separated­for­use­on­more­than­one­computer.

Not for Resale Version.­If­the­“IK­Multimedia­Product”­is­labeled­“Not­for­Resale”­or­“NFR”­or­“Evaluation­Copy”,­then,­notwithstanding­other­sections­of­this­EULA,­you­may­not­sell,­or­otherwise­transfer­the­“IK­Multimedia­Product”.

Rental.­You­may­not­rent,­lease,­or­lend­the­“IK­Multimedia­Product”­to­any­party.

Software Transfer.­You­may­not­transfer,­license­or­sublicense­your­rights­as­Licensee­of­the­software­or­any­IK­Multimedia­product,­as­licensed­to­you­under­this­agreement­without­prior­written­consent­of­the­rights­owner.­The­carrier­on­which­the­IK­Multimedia­product­has­been­distributed­may­be­transferred­or­otherwise­made­available­to­any­third­party­only­with­the­prior­written­consent­of­the­rights­owner­and­provided­that­(a)­the­original­media­

III - License Agreement ­­­­­­­­­9

T-RackS®

and­license(s)­accompany­the­carrier­and­(b)­the­party­transferring­the­media­does­not­retain­a­copy­of­the­media.

5)­UPGRADES

If­the­“IK­Multimedia­Product”­is­labeled­or­otherwise­identified­by­IK­Multimedia­as­an­“upgrade”,­you­must­be­properly­licensed­to­use­a­product­identi-fied­by­IK­Multimedia­as­being­eligible­for­the­upgrade­in­order­to­use­the­“IK­Multimedia­Product”.

An­“IK­Multimedia­Product”­labeled­or­otherwise­identified­by­IK­Multimedia­as­an­upgrade­replaces­and/or­supplements­the­product­that­formed­the­ba-sis­for­your­eligibility­for­such­upgrade.­You­may­use­the­resulting­upgraded­product­only­in­accordance­with­the­terms­of­this­EULA.­If­the­“IK­Multimedia­Product”­is­an­upgrade­of­a­component­of­a­package­of­software­programs­that­you­licensed­as­a­single­product,­the­“IK­Multimedia­Product”­may­be­used­and­transferred­only­as­part­of­that­single­product­package­and­may­not­be­separated­for­use­on­more­than­one­computer.

6)­DUAL-MEDIA­SOFTWARE

You­may­receive­the­“IK­Multimedia­Product”­in­more­than­one­medium.­You­may­not­loan,­rent,­lease,­or­otherwise­transfer­the­other­medium­to­another­user,­except­as­part­of­the­permanent­transfer­(as­provided­above)­of­the­“IK­Multimedia­Product”.

7)­LIMITED­WARRANTY

IK­Multimedia­warrants­to­the­original­purchaser­of­the­computer­software­product,­for­a­period­of­ninety­(90)­days­following­the­date­of­original­purchase,­that­under­normal­use,­the­software­program­and­the­user­documentation­are­free­from­defects­that­will­materially­interfere­with­the­operation­of­the­program­as­described­in­the­enclosed­user­documentation.

8)­WARRANTY­CLAIMS

To­make­a­warranty­claim­under­the­above­limited­warranty,­please­return­the­product­to­the­point­of­purchase,­accompanied­by­proof­of­purchase,­your­name,­your­return­address­and­a­statement­of­the­defect,­or­send­the­CD(s)­to­us­at­the­below­address­within­ninety­(90)­days­of­purchase.­Include­a­copy­of­the­dated­purchase­receipt,­your­name,­your­return­address­and­a­statement­of­the­defect.­IK­Multimedia­or­its­authorized­dealer­will­use­reasonable­com-mercial­efforts­to­repair­or­replace­the­product­and­return­it­to­you­(postage­prepaid)­or­issue­to­you­a­credit­equal­to­the­purchase­price,­at­its­option.

9)­LIMITATIONS­ON­WARRANTY

IK­Multimedia­warrants­only­that­the­program­will­perform­as­described­in­the­user­documentation.­No­other­advertising,­description­or­representation,­whether­made­by­a­IK­Multimedia­dealer,­distributor,­agent­or­employee,­shall­be­binding­upon­IK­Multimedia­or­shall­change­the­terms­of­this­warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.

10)­CHOICE­OF­LAW

You­agree­that­any­and­all­claims,­suits­or­other­disputes­arising­from­your­use­of­the­software­shall­be­determined­in­accordance­with­the­laws­of­Italy,­in­the­event­IK­Multimedia,­is­made­a­party­thereto.­You­agree­to­submit­to­the­jurisdiction­of­the­court­in­Modena,­Italy­for­all­actions,­whether­in­contract­or­in­tort,­arising­from­your­use­or­purchase­of­the­software.

11)­GENERAL

This­Agreement­contains­the­complete­agreement­between­the­parties­with­respect­to­the­subject­matter­hereof,­and­supersedes­all­prior­or­contempora-neous­agreements­or­understandings,­whether­oral­or­written.­All­questions­concerning­this­Agreement­shall­be­directed­to:

IK­Multimedia­Production­SrlVia­dell’Industria­4641100­ModenaItaly

©­2008­IK­Multimedia.­All­rights­reserved.

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T-RackS®

IV - Versions ­­­­­­­­­11

T-RackS®

T-RackS 3 versions

T­RackS­3­comes­in­3­different­versions:

T-RackS­3­Deluxe•­T-RackS­3­Standard•­T-RackS­3­EQ•­

The­difference­between­each­version­is­in­the­number­of­module­processors­included.

T-RackS 3 version Module processors included

T-RackS­3­Deluxe

Vintage­Tube­Compressor/Limiter­model­670Tube­Program­Equalizer­model­EQP-1AOpto­CompressorBrickwall­LimiterLinear­Phase­EqualizerClassic­T-RackS­CompressorClassic­T-RackS­Multi-band­LimiterClassic­T-RackS­ClipperClassic­T-RackS­Equalizer

T-RackS­3­Standard

Classic­T-RackS­CompressorClassic­T-RackS­Multi-band­LimiterClassic­T-RackS­ClipperClassic­T-RackS­Equalizer

T-RackS­3­EQ Classic­T-RackS­Equalizer

While­consulting­this­manual,­please­refer­to­the­specific­module­processors­included­in­the­T-RackS­version­you­are­using.

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T-RackS®

figure­1.0

1 - What is T-RackS 3 ­­­­­­­­­13

T-RackS®

Chapter 1 What is T-RackS 3

1.1 Introduction

IK­Multimedia­pioneered­analog-modeled­mastering­with­the­first­all-in-one­software­solution,­the­original­standalone­version­of­T-RackS,­that­became­a­cult­hit­for­a­multitude­of­studios­around­the­world.­

The­new­T-RackS­3­(figure­1.0)­raises­the­bar­again­in­DAW­mastering­and­mixing­with­a­Dynamics­&­EQ­suite­of­analog­modeled­and­digital­processor­plug-ins­with­ an­audio­quality­ that­ is­ unmatched­on­ the­ software­market­and­scores­of­new­and­unique­features.

T-RackS­3­processors­include­high-end­analog­and­digital­EQs,­Compressors­and­Limiters­that­offer­amazing­sonic­performance­with­a­similar­working­environment­to­that­of­professional­mastering­stations­-­right­on­your­desk-top­ -­both­as­a­plug-in­ for­all­ the­most­popular­DAWs­or­as­a­ standalone­application.

Even­ though­ T-RackS­has­ been­ designed­ for­mastering,­ its­ quality­ plug-in­units­can­sound­amazing­on­individual­tracks­too.­We­suggest­using­them­on­critical­tracks­like­lead­vocals,­drums,­bass,­acoustic­guitars­and­so­on,­every­time­you­need­that­pristine,­warm­and­open­sound­T-RackS­is­renowned­for.

1.2 What's new in T-RackS 3

Modular­mastering/mixing­suite­of­dynamics­and­EQ­processors,­including:

9­effects­processors­comprised­of­3­new­vintage­analog­emulations­•­(including­models­based­on­the­Fairchild­670­and­the­Pultec­EQP-1A)­and­2­new­digital­processors­as­well­the­four­classic,­award-winning­T-RackS­processorsNew­configurable­mastering/mixing­chain­–­runs­up­ to­12­parallel/•­series­processorsNew­ complete­ built-in­ metering­ section­ with­ Peak,­ Perceived­•­Loudness,­ Phase,­ and­ RMS­ meters,­ plus­ Spectrum­ Analyzer­ with­Peak,­RMS­and­Averaging­indicatorsNew­high-fidelity­oversampling­with­high­transparency,­for­extreme-•­ly­high­quality­audio­processing­throughout­the­entire­signal­path­New­standalone­and­plug-in­versions­available­in­the­same­package­•­for­use­in­all­the­most­popular­native­DAWsNew­ SCC™­ (Sonic­ Character­ Cloning)­ technology­ coupled­with­ IK’s­•­unique­DSM™­(Dynamic­Saturation­Modeling)­technology­to­provide­the­most­realistic­software­emulation­of­vintage­gear­to­dateExtremely­easy­to­use­with­style-based­presets,­full­chain­visualiza-•­tion,­ one-click­ single­ module­ or­ chain­ bypass,­ “compare”­ function,­multiple­audio­file­processing­in­standalone­mode­and­much­more.

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T-RackS®

1.2.1 9 module processors

5 New T-RackS processors:

Vintage Tube Compressor/Limiter model 670Based­ on­ the­ “Holy­ Grail”­ of­ compressors/limiters,­ the­ Fairchild­ 670­(figure­ 1.1).­ With­ a­ faithful­ reproduction­ of­ every­ control,­ this­ is­ an­incredibly­accurate­model­that­captures­every­nuance­of­one­of­the­best­Fairchild­units­available.­The­original­unit­delivers­a­truly­magic­touch­that­ makes­ everything­ that­ passes­ through­ it­ shine­ and­ sound­ more­musical­and­emotional,­and­was­analyzed­for­months­for­every­single­detail­ to­ reveal­all­of­ its­ secrets.­ IK’s­unique­analog-modeling­experi-ence­and­exclusive­DSM™­ (Dynamic­Saturation­Modeling)­ technology­pushes­this­model­to­the­limit­and­beyond,­so­we­developed­a­new­cus-tom,­proprietary­method­dubbed­SCC™­(Sonic­Character­Cloning)­–­with­results­that­can­only­be­described­as­magic!­It­took­us­a­very­long­time,­but­we­believe­it­was­well­worth­the­effort,­and­you’ll­be­the­one­who­will­say­that­ this­ is­ the­only­670­digital­recreation­that­actually­ treats­music­like­the­original.­Stereo­or­Lat/Vert­(MS)­operation.

Tube Program EqualizerBased­on­what­is­universally­known­as­one­of­the­best­and­most­musical­program­EQs­ever­made,­the­Pultec­EQP-1A­(figure­1.2).­Extremely­accu-rate­modeling­of­two­real­world­units,­known­to­“have­the­sound”,­with­sonic­performance­that­is­indistinguishable­from­the­originals,­thanks­to­IK’s­DSM™­and­new­SCC™­technology.­Stereo­or­MS­operation.

Opto compressorOptical­compression­has­a­special­sonic­character­that­true­audiophiles­appreciate­nowadays.­This­analog-modeled­module­faithfully­recreates­that­particular­(and­extremely­musical)­“movement”­that­characterizes­only­ the­ best­ opto­ compressors.­ An­ important­ characteristic­ of­ opto­compression­ is­ the­ total­ absence­ of­ distortion­ and­ coloration­ during­gain­reduction,­and­you­can­expect­the­same­performance­from­IK’s­Opto­compressor.­Stereo­or­MS­operation.

Intelligent, multi-algorithm Brickwall LimiterMulti-algorithm­ Brickwall­ Limiter­ that­ can­ really­ make­ your­ masters­loud­without­squashing­them­to­a­lifeless­sound­(unless­you­want­that!).­Accurate­and­transparent,­digital­brickwall­limiting­can’t­get­any­better­than­this.­Selectable­algorithms­to­match­the­best­limiting­style­for­each­program­type.

High precision, high definition Linear Phase EqualizerAn­accurate,­high­definition,­high­precision­EQ­that­can­be­trusted­for­delicate­Mastering­tasks­with­6­completely­identical­bands­that­can­be­set­ to­all­available­ filter­ types­and­ that­ can­span­ the­whole­ spectrum­range­(any­kind­of­overlap­is­possible).­Switchable­between­minimum­and­linear­phase­characteristics.­Stereo­or­MS­operation.

figure­1.1

figure­1.2

1 - What is T-RackS 3 ­­­­­­­­­15

T-RackS®

4 Classic T-RackS processors:

Classic T-RackS CompressorClassic­tube­stereo­compressor/leveler­designed­for­mastering

Classic T-RackS Multi-band LimiterMultiband­master­stereo­limiter

Classic T-RackS ClipperSoft-clipping­stage­to­create­warm,­saturated­mastering­effects

Classic T-RackS EqualizerState-of-the-art­six­band­parametric­equalizer,­modeled­on­classic­ top­quality­analog­gear

1.2.2 12 processing slots mastering chain

Modular­mastering/mixing­solution­with­12­processing­slots:

Audio­chain­with­12­new­selectable­processing­slots,­arranged­in­two­•­rows­of­4+4­slots­for­parallel­processing­plus­4­series­final­slots.Modules­can­be­easily­switched­on/off­with­a­single­click,­singularly­•­or­all­of­them,­at­any­time­for­quick­A/B­of­the­monitored­audio,­with-out­need­for­navigating­or­scrolling.Single­module­or­global­chain­visualization­options•­“Compare”­ function­ allows­ comparison­ between­ the­ sound­ of­ pro-•­cessed­version­and­the­original,­with­precise­level­matching,­so­that­you­ can­ really­ judge­ the­ sound­ changes­ and­ not­ be­ mislead­ by­ a­volume­increase.

1.2.3 Accurate, complete and truly useful Metering

T-RackS­3­ includes­a­new­high­quality,­high­precision,­ complete­metering­section.­This­includes:

A­precision­three-scale­Peak­meter­with­accurate­sample­ indicators­•­and­real­digital­“Over”­indication.Real­ Perceived­ Loudness­meter.­ This­ is­ an­ amazingly­ useful­meter­•­that­ is­ not­ included­ on­ most­ software­ processors­ you­ can­ find.­ It­shows­ the­ REAL­ loudness­ that­ will­ be­ perceived­ on­ your­masters.­Compare­your­preferred­records­with­your­works­on­this­meter,­and­you’ll­immediately­see­where­to­go­with­loudness­management.Phase­scope,­with­options­to­match­the­style­and­indication­you’re­used­to•­Phase­correlation•­Spectrum­Analyzer­with­Peak,­RMS­and­Averaging­indicators.•­RMS­meter•­Loudness­and­RMS­metering­“optimal”­zones’­ indication,­selectable­•­by­genre­and­style.

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1.2.4 All-platform plug-ins and standalone versions in the same package

Plug-ins­fully­integrate­with­all­of­today’s­popular­DAWs•­Standalone­allows­for­loading­multiple­audio­files,­previewing­them­•­with­ independent­settings­and­processing­all­of­ them­with­a­single­click.Standalone­includes­extremely­high­quality­sampling­rate­conversion­•­to­write­44.1­kHz­CD­files,­starting­from­any­sampling­rate.Built-in­dithering­with­various­options•­Automation­ made­ easy:­ you­ can­ take­ snapshots­ on­ each­ song­•­and­ automate­ processing­ parameter­ changes­ during­ the­ song,­ for­example,­when­passing­from­verses­to­choruses,­etc,­all­with­a­single­click.Non-destructive­basic­audio­editing.•­

1.2.5 High transparency, extremely high quality audio processing

You­may­think­digital­processors­are­transparent­in­general,­and­of­a­quality­high­enough­for­audio­mastering.­That’s­not­always­true.­Very­simple­pro-cessing­like­a­filter­or­a­dynamic­gain­change­can­literally­ruin­your­sound­beyond­ rescue­ if­ they’re­not­ performed­at­ the­highest­ possible­ quality­ by­applying­techniques­that­are­not­so­commonly­used.­

T-RackS­3­delivers­incredible­purity,­transparency­and­fidelity­far­superior­to­the­vast­majority­of­plug-ins­you­could­compare­it­with.­If­you­are­familiar­with­the­sound­of­ top­quality­analog­and­digital­hardware­equalizers­that­are­ used­ daily­ in­ top­mastering­ houses,­ you’ll­ immediately­ recognize­ the­quality­and­purity­typical­of­those­units­here,­and­if­you’re­not­you’ll­experi-ence­what­high­quality­equalization­means.­

Oversampling­ perfected.­ Many­ digital­ processors­ use­ oversampling­ to­achieve­better­sound.­Unfortunately,­many­of­them,­under­critical­listening­sessions,­ can­be­ found­ to­ achieve­no­ significantly­ better­ (or­ even­ slightly­worse)­ results­ than­ the­ regular­ sampling­ rate­ option.­ This­ is­ because­ the­upsampling­and­downsampling­processes­are­not­done­at­an­adequate­level­of­quality.­In­other­words,­typically­what­is­improved­by­running­a­processor­at­double­sampling­frequency­is­partially­compromised­by­the­loss­of­quality­in­the­upsamplers­and­downsamplers.­There­are­only­a­few­pieces­of­gear,­mainly­ hardware­ and,­ until­ now,­ all­ of­ them­ really­ expensive,­ that­ have­really­realized­oversampling­the­way­it­should­be­done.­T-RackS­3­is­one­of­them.­We­wanted­to­offer­the­same­quality­of­the­highest­caliber­mastering­tools,­and­the­result­is­a­process­that­has­no­side­effect­at­all­on­the­sound:­total­transparency.­So­what­you­hear­is­exactly­the­same­sound­of­the­pro-cessor­running­at­double­sampling­rate,­with­no­side­effects.

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1.2.6 SCC™ technology

With­over­10­years­of­experience­in­analog-modeled­software,­ IK­has­pio-neered­ this­ technology­ and­ accumulated­more­ experience­ than­ any­other­plug-in­manufacturer­in­the­field.­This­has­resulted­in­several­improvements­like­ our­ unique­ DSM™­ (Dynamic­ Saturation­Modeling)­ and­ now­ the­ new­SCC™ (Sonic Character Cloning).­ SCC™­has­been­developed­ to­ “clone”­ the­true­behavior­of­an­analog­vintage­processor­down­to­its­finest­level­of­sonic­detail­ for­ a­ faithful­ reproduction­ of­ all­ its­ tonal­ characteristics.­ This­ new­emulation­technology­produces­results­that­are­indistinguishable­from­the­originals,­even­for­the­professionally­trained­ear.­

Many­ pieces­ of­ vintage­ gear­ tend­ to­ have­ original­ and­ interesting­•­circuit­ topology,­ due­ to­ the­ creative­ solutions­ that­ engineers­ were­sometimes­forced­to­put­ into­place­in­order­to­overcome­the­limita-tions­of­components’­technology.­Vintage­ component­ technology­ (many­ components­ can’t­ be­ found­•­anymore­ because­ their­ technology­ became­ obsolete­ and­ uneco-nomical)­as­well­as­ their­aging­ (some­of­ the­best­sounding­devices­are­ 40-50­ years­ old)­ played­ fundamental­ roles­ in­ giving­ these­devices­a­unique­musicality­that­is­what­the­purist­would­define­to­be­“unmatched”­by­even­the­most­advanced­processors­today.­And­finally,­many­of­the­unique­sonic­characteristics­of­these­magnifi-•­cent­vintage­units­sometimes­depended­on­erratic­and­unpredictable­behavior­ of­ their­ electronics­ that­would­ be­ considered­ unorthodox­and­unusable­by­today’s­science­and­standards.­

SCC™­technology­has­the­ability,­through­a­new­analysis­method­developed­by­IK,­to­integrate­all­of­the­above­and­turn­it­into­mathematical­algorithm­that,­ for­ the­ first­ time,­ is­able­ to­ take­ into­ consideration­all­of­ these­com-plex­variables­and­get­an­exact­“clone”­of­the­original;­software­emulation­evolved­to­a­sound­quality­never­heard­before.­The­results­are­so­close­to­the­original­units­that­you­will­not­be­able­to­tell­the­difference.

1.3 Block diagram

figure­1.3

SLOT­1A

Input

Output

Upsampler

Downsampler

Dithering

SRC

SLOT­1BSLOT­5

SLOT­2A

SLOT­2BSLOT­6

SLOT­3A

SLOT­3BSLOT­7

SLOT­4A

SLOT­4BSLOT­8

Metering

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1.4 Architecture

T-RackS­3­is­set­up­as­an­audio­processing­chain­that­includes­a­total­of­12­slots­in­parallel­and­series­configuration.­

When­the­signal­enters­the­chain,­it­is­first­converted­to­the­correct­project­Sampling­ Rate­ at­ the­ highest­ possible­ quality,­ then­ eventually­ oversam-pled.

After­being­processed­by­the­12­slots­chain­the­signal­goes­into­final­down-sampling­and­dithering­stages.

After­the­final­downsampling­the­signal­is­then­sent­to­the­Metering­section.

1.5 Interface

T-RackS­3­interface­(figure­1.4)­is­structured­in­7­separate­areas:

Presets: 1. this­area­is­used­to­save­and­load­T-RackS­presets.­Presets­can­be­ saved/loaded­as­GLOBAL­ (the­entire­mastering­ chain)­or­by­MODULE­(selected­module­processor).

Double Chain: 2. this­area­is­used­to­build­the­12-processor­mastering­chain.­8­slots­are­provided,­the­first­4­available­in­A/B­parallel­config-uration.­In­this­area­processors­can­be­loaded­in­the­slots,­bypassed­singularly­or­as­an­entire­chain,­to­allow­quick­comparison­between­the­original­material­and­the­processed­one.­

Processor Interface: 3. this­area­shows­the­selected­processor­with­all­its­controls.­

Metering section: 4. all­T-RackS­meters­are­conveniently­placed­in­this­area­and­are­always­visible­to­keep­the­most­important­sonic­signal­variables­under­control.

A-B-C-D settings: 5. these­ buttons­ allow­ you­ to­ quickly­ create­ 4­ dif-ferent­ settings­ for­ an­ immediate­ on-the-fly­ check­ between­ various­T-RackS­sound­configurations.­

Other controls: 6. these­buttons­allow­you­to­manage­software­autho-rization,­ information,­ preferences­ and­ automation­ settings­ in­ the­plug-in.

Standalone file player/editor: 7. this­area­is­present­only­in­the­stand-alone­version­of­T-RackS­and­allows­you­to­load­multiple­audio­files­to­be­processed­with­T-RackS­and­exported­for­CD­burning­or­other­medium.­Each­file’s­waveform­is­visualized­on­the­right­and­various­basic­ editing­ features­ are­ available­ such­ as­ FADE­ IN/FADE­ OUT,­SNAPSHOTS,­LOOP­POINTS.

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1 2

3

4

6 5

7

figure­1.4

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Chapter 2 Getting started

T-RackS­3­can­be­used­in­standalone­mode­or­as­a­plug-in.

2.1 Using T-RackS as a Standalone

figure­2.1

2.1.1 Starting T-RackS in standalone mode

In­standalone­mode­(figure­2.1),­you­can­launch­T-RackS­3­from­your­appli-cation­folder­and­use­it­without­the­need­for­a­host­application.­

In­standalone­mode­T-RackS­3­performs­as­a­dedicated­mastering­process-ing­station.­You­can­load­multiple­ files­and­apply­a­different­double­chain­of­T-RackS­processors­on­each­one,­also­applying­FADE­IN/OUT­to­finalize­your­productions.­You­can­also­change­any­settings­of­the­processing­chain­during­a­song­with­ the­ included­SNAPSHOTS­ function.­Controls­ like­LOOP­POINTS­allows­for­working­on­selected­part­of­your­song­for­fine­tuning­to­the­highest­level­of­details.­All­of­this­is­available­directly­on­the­audio­file­WAVEFORM­that­is­conveniently­displayed­in­T-RackS­with­ZOOM­IN/OUT.­Once­ you­ are­ done­ the­PROCESS­button­ allows­ you­ to­ export­ your­ entire­

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album­with­one­click­with­the­highest­quality­for­CD­or­any­other­multimedia­or­online­medium.

Audio Hardware Settings window

To­work­with­T-RackS­3­in­standalone­mode­you­need­to­properly­adjust­its­hardware­settings­(figure­2.2)­that­control­which­audio­interface­is­used­by­the­software­for­its­stereo­audio­output.­This­window­can­be­launched­under­the­Audio­menu­in­the­Menu­bar­of­the­standalone.­Here­you­will­select­the­audio­interface­and­buffer­size­that­will­be­used­in­T-RackS­3.

Audio­Driver:­T-RackS­3­is­compatible­with­any­ASIO­or­DirectX­audio­interface­in­Windows­and­any­Core­Audio­compatible­audio­interface­in­Mac­OS­X.

Windows

T-RackS­3­ is­ compatible­with­ASIO­or­DirectX­compatible­audio­ interfaces­on­Windows.­Use­drop­down­Technology­and­Output­Device­menus­to­select­your­audio­interface­(figure­2.3).­

figure­2.3

Left/Right­Channel­pop-up­menus­are­used­to­route­the­T-RackS­3­stereo­output­to­specific­audio­outputs­on­the­chosen­audio­interface.­Buffer­Size­allows­you­to­change­the­buffer­size­of­the­audio­interface.­Click­on­Panel­button­to­change­ASIO­settings­for­your­audio­interface,­like­buffer­size,­sync­option­etc.­

Mac OS X

T-RackS­3­is­compatible­with­Core­Audio­compatible­audio­interfaces­in­Mac­OS­X.­Please­select­your­audio­interface­from­the­Output­Device­drop­down­menu­(figure­2.4).

figure­2.2

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figure­2.4

Left/Right­ Channel­ pop-up­menus­ are­ used­ to­ route­ the­ T-RackS­ 3­ stereo­output­to­specific­audio­outputs­on­the­chosen­audio­interface.­Buffer­Size­menu­allows­you­to­change­the­buffer­size­of­the­audio­interface.­These­set-tings­are­dependent­on­the­driver­of­the­audio­interface­itself.­

Project Properties window

The­ Project­ Properties­window­ (File­ >­ Project­ Properties)­ (figure­ 2.5,­ 2.6)­allows­you­ to­ adjust­ the­ T-RackS­3­Project­ output­ format­ (Wave,­Aiff,­ Caf,­Sd2)­its­resolution­and­sample­rate­as­well­as­enabling­Dithering.­The­Link­T-RackS­processors­to­Audio­File­check­box­is­used­to­link­loaded­audio­files­to­chain­processors­so­when­multiple­ files­are­ loaded­the­chain­automati-cally­switches­with­them.

figure­2.6

figure­2.5

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2.1.2 Loading and playing files

To­load­audio­files­into­T-RackS­3­standalone­simply­drag­them­(figure­2.7)­over­the­interface­or­load­them­using­the­LOAD­button­(figure­2.8).­

figure­2.7 ­­­­­­­­­­figure­2.8

The­audio­files­will­appear­on­the­AUDIO­FILES­panel­ in­the­player/editor­window­interface­(figure­2.9)­with­their­duration­listed­beside­them.­

figure­2.9

By­clicking­on­the­file­in­the­AUDIO­FILES­panel­its­waveform­will­be­displayed­on­ the­ right.­By­ clicking­ the­PLAY­button­ the­ file­will­ start­ playing,­ and­by­enabling­the­LOOP­button­(figure­2.10)­the­file­will­be­played­in­a­loop.­

figure­2.10

During­file­play­a­PLAY­CURSOR­will­be­displayed­over­the­waveform­with­the­COUNTER­display­indicating­its­position­in­the­file­in­minutes/seconds/frames­format­(figure­2.11).­The­STOP­button­will­stop­the­file­play.­Both­in­PLAY­or­STOP­mode­you­can­skip­to­a­different­PLAY­point­simply­by­clicking­on­the­desired­position­on­the­waveform.

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figure­2.11

2.1.3 Inserting processors

To­start­mastering­your­files­you­will­need­to­ insert­T-RackS­processors­ in­the­audio­chain­ for­ the­selected­ file.­To­do­ this,­simply­click­on­one­of­ the­drop­down­menu­buttons­corresponding­to­the­available­T-RackS­chain­slots­(figure­2.12).­ This­will­display­ the­processors­menu­where­you­ can­ choose­one­of­the­available­processors­for­that­slot­by­selecting­it­from­the­menu.

figure­2.12

The­abbreviation­of­ the­inserted­processor­will­appear­ in­the­selected­slot­and­the­drop­down­menu­will­display­the­type­of­processor­inserted­in­the­slot­(figure­2.13).­

figure­2.13

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Now­the­audio­will­be­played­through­the­T-RackS­processor­inserted­in­the­chain.­To­insert­more­processors­you­can­simply­repeat­the­operation­for­any­of­the­slots.­Now­you­can­edit­every­control­of­the­processors­to­achieve­the­desired­mastering­ results,­ checking­ your­ results­ on­ the­ T-RackS­metering­section.­

By­ selecting­ a­ different­ audio­ file­ you­ can­ insert­ a­ totally­ different­ chain­unless­ you­ have­ unchecked­ “Link­ T-RackS­ processor­ to­ audio­ file”­ in­ the­Project­Properties­window.­In­this­case­the­chain­you­have­created­will­also­be­applied­to­the­newly­selected­audio­file­and­all­others­you­work­on.

Within­the­same­audio­file­you­can­apply­different­T-RackS­settings­by­using­the­available­scene­SNAPSHOTS.­

2.1.4 Processing your master

When­you­are­satisfied­with­the­results­of­your­processing,­you­can­export­your­master­as­an­audio­file­for­CD­or­any­other­desired­music,­online­or­multimedia­medium,­according­to­the­settings­specified­in­the­Project­Settings­window.

To­export­the­desired­files­simply­click­on­the­PROCESS­button­(figure­2.14).­

figure­2.14

An­Audio­Process­wizard­will­appear­to­guide­you­through­exporting­your­file­(figure­2.15).­First­you­will­be­asked­to­specify­if­you­want­to­process­a­single­file­or­all­open­ones.

If­you­selected­to­process­Current­File­only­click­on­Browse­to­specify­desti-nation­folder­and­file­name.

If­you­selected­to­process­All­Open­Files­click­on­Browse­to­specify­a­destina-tion­folder.

Since­you're­processing­multiple­files­you­won't­be­able­to­specify­a­specific­file­name.­Instead­the­original­file­names­will­be­used,­with­the­addition­of­the­postfix­you'll­add­in­the­“Append­to­filename”­field­(figure­2.15).

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figure­2.15

A­summary­of­which­audio­file­format­is­going­to­be­saved­is­shown­on­the­same­window.

Clicking­on­NEXT­will­start­the­processing­of­your­files­(figure­2.16)­saving­them­on­your­hard­disk.

figure­2.16

Your­mastered­file­will­be­saved­in­the­desired­location­ready­to­be­distributed.

2.1.5 T-RackS 3 Project

T-RackS­3­standalone­can­save­its­current­state,­a­list­of­loaded­audio­files,­T-RackS­processing­chain­settings,­snapshots,­fades­and­other­settings­into­a­Project­file.

When­you­launch­T-RackS­3­standalone,­an­“untitled”­project­is­ loaded­by­default.­ You­ can­ start­ to­ load­ audio­ files­ and­ tweak­ the­ T-RackS­ 3­ audio­processing­chain­in­this­Project.

To­save­your­Project­so­that­it­can­be­loaded­later­on,­select­Save­Project­from­File­menu­(figure­2.17).figure­2.17

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As­you­have­been­working­on­a­default­Project­you­will­be­asked­for­a­file­name­and­location­on­your­hard­drive.

To­ continue­working­on­ this­Project­ later­ on,­ select­Open­Project...­ (figure­2.18)­ and­ locate­ the­ file­ you­ previously­ saved­ (T-RackS­ 3­ projects­ have­ a­“.trs”­extension).

The­T-RackS­3­default­Project­has­the­following­properties:Output File Format:­WAVEOutput Sampling Rate:­44.1­kHzOutput Resolution:­16­bitDithering:­OFF

T-RackS­audio­processing­chain­settings­will­be­linked­to­the­selected­Audio­File.

IMPORTANT:­These­are­the­settings­which­T-RackS­3­will­use­when­export-ing­processed­Audio­Files.

You­can­create­a­new­Project­from­scratch­by­selecting­New­Project...­ from­File­menu­(figure­2.19).­A­new­Project­window­will­appear,­allowing­you­to­specify­a­Project­name­and­set­all­Project­properties­(figure­2.20).

figure­2.20

To­save­a­copy­of­ the­Project­with­a­different­name­and­/­or­ to­a­different­location­select­Save­As...­from­File­menu­(figure­2.21).

figure­2.18

figure­2.19

figure­2.21

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2.2 Using T-RackS as a Plug-in

In­ addition­ to­ being­ a­ standalone­ application,­ T-RackS­ 3­ also­works­ as­ a­plug-in­ effect.­ T-RackS­ plug-in­ functions­ will­ be­ exactly­ the­ same­ as­ the­standalone­version­apart­from­the­file­player/editor­which­is­available­only­in­ standalone­mode.­ Please­ read­ the­ following­ instructions­ about­ how­ to­start­T-RackS­in­each­of­the­major­host­applications.

2.2.1 Pro Tools

Launch­Pro­Tools®­and­create­your­new­session.­Go­to­Insert/Plug­in/Other­and­select­“T-RackS­3”­Stereo­on­a­stereo­track­or­on­a­stereo­Master­bus.

TIP:­if­you­are­using­Pro­Tools­TDM­and­recording­a­vocal­track­while­listen-ing­ to­ T-RackS,­ you­ should­ insert­ a­ TDM­plug-in­ like­Digidesign’s­ “TRIM”­before­T-RackS­RTAS.­This­will­ let­you­hear­T-RackS­RTAS­while­recording­on­a­TDM­system.­Otherwise­Pro­Tools­will­bypass­the­RTAS­plug-in­as­soon­as­the­track­is­RECORD­enabled.

2.2.2 Cubase

Launch­Cubase®.­Click­on­the­audio­track,­ instrument­track­or­Master­bus­you­wish­to­add­T-RackS­3­to.­In­the­inspector­window­on­the­left,­click­on­the­dark­blue­bar­that­says­“Inserts”­or­click­on­the­“e”­button­beside­the­track­name­at­the­top­of­the­inspector.

Once­ the­ inserts­ are­ visible­ (under­ the­ insert­ menu­ on­ the­ Inspector,­ or­on­the­left­side­of­the­audio­channel­editor­window)­click­on­empty­insert.­Select­“T-RackS”­to­insert­it­on­the­selected­channel.

2.2.3 Nuendo

Launch­Nuendo®,­open­a­new­project,­then­go­to­Project/Add­track/Audio,­select­ your­audio­ track­ configuration­ (mono/stereo)­and­ click­OK.­Click­on­“Inserts”­ to­expand­the­menu,­and­then­click­on­the­dark­blue­area­below­“i1”­to­see­the­available­plug-in­list.­Select­T-RackS­3­so­it­opens.­To­open/close­its­interface­click­on­the­“e”­button.

2.2.4 Logic Pro/ Logic Express

Launch­Logic®.­Insert­“T-RackS­3”­on­the­desired­track­or­on­the­Master­bus­from­ the­mixer­window.­ The­ T-RackS­ plug-in­ interface­will­ automatically­open.

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2.2.5 Digital Performer

Launch­Digital­ Performer™­and­ create­ your­new­ session.­Go­ to­ the­Mixer­View.­Add­“T-RackS­3”­as­an­insert­on­your­audio­track­or­on­the­Master­bus.­The­T-RackS­plug-in­interface­will­automatically­open.­To­take­advantage­of­the­stereo­capabilities­of­T-RackS,­open­the­plug-in­as­Mono­to­Stereo­

2.2.6 Live

Launch­Live®­and­click­on­one­of­the­audio­or­virtual­instrument­tracks­in­the­“Mixer­Drop­Area.”­Notice­in­the­“Track­View”­(bottom­window),­the­text­“Drop­Audio­Effects”­appears.­Now,­in­the­“Browser­Window”­(window­on­the­left­hand­side­of­the­screen),­click­the­Plug-in­Browser­button­(it­looks­like­an­electric­plug).­Browse­to­“T-RackS­3”­and­click/drag­it­into­the­“Track­View.”­Once­T-RackS­loads,­it­will­appear­as­a­“Device”­with­an­XY­controller­on­it.­To­open/close­the­T-RackS­interface­click­the­“edit­plug-in­panel”­(small­wrench)­button­at­the­top­of­the­Device­window.

2.2.7 Sonar

Launch­Sonar®­and­create­your­new­session.­Open­ the­Console­ (pressing­ALT+3)­and­locate­the­audio­track­or­Master­bus­to­which­you­wish­to­add­T-RackS.­Right­click­into­the­FX­Insert­Area­(the­dark­square­located­in­the­Audio­ track’s­upper­area)­and­choose­“T-RackS­3”­ from­the­Audio­FX­sub-menu.­The­T-RackS­plug-in­interface­will­then­appear.­

2.2.8 GarageBand

Launch­GarageBand®,­and­go­ to­ Track/New­Track.­ Set­ up­ this­window­ in­the­following­way:­click­on­Real­Instrument,­Monitor­On,­Expand­the­Details­menu,­and­Uncheck­the­Echo­and­Reverb­effect.­Select­“T-RackS­3”­from­the­3rd­or­4th­effects­drop­down­menu,­check­its­ left­box,­and­click­the­Create­button.­ To­ open­ the­ T-RackS­ plug-in­ interface,­ double­ click­ the­ track­ (the­track­ info­window­will­pop­up)­and­click­on­ the­pencil­ icon­ located­ to­ the­right,­and­the­T-RackS­interface­will­open.

2.2.9 Acid

Launch­Acid™,­ and­ go­ to­ Insert\Audio­ track.­ Then­ go­ to­ Insert­ again­ and­select­ Assignable­ FX,­ double­ click­ the­ VST­ folder,­ select­ “T-RackS­ 3”­ and­then­click­on­Add/Ok.­The­T-RackS­interface­will­open.

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2.2.10 Tracktion

Launch­Tracktion®,­open­a­project­and­drag­ the­“new­ filter”­ from­ the­ top­right­area­to­the­selected­audio­track­or­to­the­Master­bus.­When­the­plug-ins­list­appears,­select­“T-RackS­3”­so­its­interface­will­open.­To­monitor­your­guitar,­click­“R”­from­your­selected­track­input­device­(left­area).

2.2.11 Riffworks

Launch­Riffworks­Standard®,­and­click­on­the­Hardware­button­(located­at­the­bottom­of­the­interface)­to­turn­it­off.­Then­click­on­the­little­AMP­down­arrow­and­select­“T-RackS­3”­from­the­“other”­category.

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Chapter 3 General controls

3.1 Double Chain

figure­3.1

T-RackS­3­Double­Chain­ (figure­3.1)­allows­you­ to­ insert­up­ to­12­parallel/series­processors.­It­is­a­fixed­configuration­audio­chain­that­starts­with­4+4­parallel­ (A/B)­ processors­ slots­ followed­ by­ 4­ series­ processors­ slots.­ The­processors­slots­are­numbered­1­to­4­A­and­B­for­the­two­initial­parallel­lines­of­the­chain­while­the­4­final­series­processors­slots­are­numbered­5­to­8.

You­can­insert­any­of­the­available­T-RackS­processors­into­the­12­slots.­To­load­a­processor­simply­click­the­drop­down­buttons­underneath­the­avail-able­ slots­ (figure­ 3.2).­ The­ corresponding­ slot­ will­ become­ the­ currently­selected­one.­When­a­processor­is­loaded­its­abbreviated­name­will­appear­in­the­slot­display­and­the­number­of­the­slot­will­appear­in­bright­yellow­with­black­text­when­selected­(figure­3.3).­You­can­select­another­slot­either­by­clicking­directly­on­its­corresponding­drop-down­menu­or­by­clicking­on­its­number­on­the­left­of­the­slots­(1­to­4­A/B­and­5­to­8).­

The­dark­yellow­button­with­white­text­on­the­slot­number­indicates­which­slot­the­display­corresponds­with.­The­small­red­triangle­appearing­on­the­slot­number­1­to­4­A/B­indicates­that­the­slot­has­been­loaded­with­a­proces-sor­(figure­3.4).

figure­3.2

figure­3.3

figure­3.4

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Clicking­on­the­slot­display­will­bypass­the­slot.­The­abbreviated­name­of­the­bypassed­processor­will­be­dimmed­(figure­3.5).­This­is­the­same­operation­as­bypassing­the­processor­on­its­own­interface­with­the­bypass­switch.

You­can­display­in­any­moment­the­entire­chain­graphically­by­clicking­on­the­SHOW­CHAIN­button­ (figure­3.6).­ This­will­ display­ the­ chain­ in­ full­ in­the­T-RackS­main­interface­with­graphical­icons­of­every­inserted­processor.­Clicking­ on­ any­ of­ these­ graphical­ icons­will­ switch­ to­ the­ display­ of­ the­interface­of­that­processor.­

3.2 Compare function

The­ Compare­ function­ allows­ the­ comparison­ between­ the­ original­ file­and­ the­ one­ processed­ with­ the­ selected­ T-RackS­ chain­ or­ processors.­Additionally­a­volume­knob­is­available­to­set­the­volume­of­the­processed­and­unprocessed­audio­so­you­can­evaluate­the­two­versions­by­setting­the­same­volume­level,­to­prevent­you­from­misjudging­your­results­because­of­volume­differences.

To­activate­the­compare­function­click­on­the­COMPARE­button­(figure­3.7).When­the­COMPARE­button­is­highlighted­with­the­underneath­button­OFF­you­will­be­hearing­the­non­processed,­original­audio­and­the­volume­knob­will­adjust­its­volume­level­(figure­3.8).

When­the­COMPARE­button­is­highlighted­with­the­underneath­button­ON­you­will­hear­the­processed­audio­and­the­volume­knob­will­adjust­its­vol-ume­level­(figure­3.9).

By­switching­the­ON/OFF­button­once­you­will­compare­between­the­original­and­the­processed­audio­and­you­will­be­able­to­set­the­volume­of­the­two­at­compara-ble­levels­to­make­effective­decision­on­the­mastering­settings­you­have­applied.

3.3 Presets

You­can­save­ the­entire­T-RackS­configuration­or­single­module­processor­settings­into­presets­that­you­can­store,­edit­and­recall­at­will.­

To­ load­ a­ preset­ in­ T-RackS,­ click­ on­ the­ Preset­ Display­ (figure­ 3.10)­ and­choose­from­the­drop­down­menu,­or­click­the­Up/Down­arrows­and­scroll­through­the­available­presets.­

The­PRESET­button­will­open­the­Presets­Folder,­letting­you­manually­move,­group,­rename­and­back­up­your­preset­files­via­standard­OS­window­(figure­3.11).

figure­3.5

figure­3.6

figure­3.7

figure­3.8

figure­3.9

figure­3.10

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figure­3.11

The­SAVE­button­ saves­ the­ current­T-RackS­ settings­as­a­preset.­ Saving­a­presets­with­no­previously­loaded­presets­presents­the­Save­window­(figure­3.12),­where­you­are­requested­to­select­a­save­folder­location­on­your­hard­disk­(by­default­this­is­the­Presets­folder),­and­give­a­name­to­your­preset.­An­ “Overwrite­without­ asking”­ check­box­allows­you­ to­overwrite­presets­without­being­asked­to­confirm.

In­case­you­click­on­the­SAVE­button­preset­once­you­would­have­already­a­preset­loaded­a­dialog­window­will­prompt­you­to­confirm­you­want­to­save­the­settings­over­the­currently­loaded­preset­(figure­3.13),­unless­you­have­checked­“Overwrite­without­asking”­in­the­Save­Window.

The­SAVE­AS­button­works­like­the­SAVE­button­presenting­the­Save­window­with­the­name­of­the­current­preset­(figure­3.14)­displayed­in­the­preset­name­field,­at­the­same­time­giving­the­option­to­save­the­preset­to­another­one­with­a­different­name.

DELETE­preset­will­delete­the­currently­loaded­preset­while­the­GLOBAL­and­MODULE­buttons­when­activated­will­allow­you­to­save­entire­T-RacKS­set-tings­or­settings­related­to­the­currently­selected­processor­only.

figure­3.12

figure­3.14

figure­3.13

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3.4 A-B-C-D settings

The­A-B-C-D­settings­(figure­3.15)­are­4­different­configurations­of­any­of­the­settings­of­ the­entire­T-RackS­chain­and­processors­that­can­be­saved­and­recalled­on­the­fly­while­working­on­the­audio.

figure­3.15

To­save­and­A-B-C-D­settings­simply­click­on­the­COPY­TO­button.­The­A-B-C-D­ buttons­will­ start­ flashing­ and­ clicking­ on­ any­ of­ them­will­ save­ the­current­settings­in­the­choosen­one.­

You­will­be­able­to­quickly­compare­between­up­to­four­different­configura-tions­without­pausing­your­audio,­a­function­that­is­particularly­useful­dur-ing­fine-tuning­sonic­details.­Please­note­that­these­settings­are­not­stored­in­the­T-RackS­3­preset­files­or­DAW­session.­

3.4 Preferences

By­clicking­on­the­PREF­button­(figure­3.16)­the­T-RackS­preferences­window­will­be­displayed­(figure­3.17).

figure­3.17

Lowest Latency•­ :­use­ this­setting­when­you­need­T-RackS­3­ to­have­the­shortest­possible­latency.­This­setting­is­to­be­used,­for­example,­when­you’re­using­T-RackS­3­to­process­a­real-time­recording­monitor­mix.­In­this­mode­the­total­T-RackS­3­latency­is­132­samples.

Oversampling•­ :­use­this­setting­when­you­want­to­use­oversampling.­This­delivers­higher­quality­to­all­T-RackS­3­processors­but­increases­latency­to­1284­samples.

figure­3.16

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Oversampling + Linear Phase: •­ use­ this­setting­when­ the­maximum­audio­ quality­ is­ needed­ and­ high­ latency­ is­ not­ a­ problem­ (for­example­when­mastering).­The­LINEAR­PHASE­button­on­T-RackS­3­Linear­Phase­Equalizer­will­only­works­with­this­setting­ON.­In­this­mode­the­T-RackS­total­latency­is­19684­sample.

D/A Distortion Protection: •­ when­mastering­audio­material­at­ really­hot­levels­there­is­a­chance­that­playback­devices­like­CD­or­MP3­play-ers­will­distort­the­audio­because­of­overload­in­their­D/A­conversion­and­ analog­ stages,­ even­ if­ the­ original­ digital­ master­ is­ distorted­at­ all.­ These­ overloads­ are­ appearing­ “between”­ samples­ because­of­ excessive­overshoots­or­ just­ because­ the­D/A­and­analog­ stages­cannot­keep­up­with­the­required­headroom.­Enable­this­to­allow­the­T-RackS­ Brickwall­ Limiter­ to­ keep­ this­ phenomenon­ under­ control­and­avoid­most­of­these­potentially­bad­distortions.­NOTE:­this­setting­has­no­effect­if­the­Brickwall­Limiter­module­is­not­used­at the end­of­the­audio­processing­chain.

Clip Output to 0 dB: •­ use­this­option­to­have­T-RackS­3­to­limit­at­0­dB­the­signal­at­the­output­of­the­processing­chain­by­hard­clipping.­If­this­is­unchecked­the­signal­is­allowed­to­go­beyond­the­0­dB­digital­level.

3.5 Info

By­clicking­on­the­INFO­button­(figure­3.18)­the­T-RackS­ info­panel­will­be­displayed­(figure­3.19).­You­will­ find­the­product­name,­ its­version­number,­and­the­related­copyright­notes.

figure­3.19

figure­3.18

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3.6 Lock

If­ you­ are­ running­ the­ software­ in­ demo­ mode,­ and­ you­ click­ on­ the­Lock­ button­ (figure­ 3.20),­ the­ Product­ Authorization­ Wizard­ will­ appear.­However,­if­you­already­registered­and­authorized­your­product,­clicking­on­the­ Lock­button­will­ show­you­ the­product­ Serial­Number,­Digital­ ID,­ and­Authorization­Code­(figure­3.21).

figure­3.21

3.7 General controls (standalone)

When­launched­in­standalone­mode­T-RackS­3­interface­will­show­the­audio­file­player/editor­at­the­bottom­of­the­interface­(figure­3.22).­

figure­3.22

This­part­of­ the­ interface­ is­used­ to­ load­multiple­audio­ files,­and­process­them­with­T-RackS­processors­with­various­listening­options­as­well­as­some­useful­editing­features.­

To­load­audio­files­in­the­standalone­application­drag­them­over­the­interface­or­click­on­the­LOAD­button­(figure­3.23).­The­file­will­appear­in­the­AUDIO­FILES­browser­and­its­waveform­will­appear­on­the­waveform­display­panel.­To­select­the­audio­file­to­be­played­simply­click­on­it­to­select,­the­selected­file­will­be­highlighted­in­yellow.­To­remove­an­audio­file­from­the­browser­select­it­and­click­on­the­REMOVE­button­(figure­3.23).­

figure­3.23

figure­3.20

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The­types­of­files­that­can­be­loaded,­played­and­processed­from­the­stand-alone­version­of­T-RackS­are­Wav,­Aiff,­Caf,­Sd2,­Mp3.

Once­ a­ file­ is­ loaded­ you­ can­use­ the­ transport­ buttons­ on­ the­ T-RackS­3­standalone­bottom­bar­ to­play,­stop­and­activate/deactivate­ the­ loop­play-back­(figure­3.24).­

A­time­counter­will­show­the­current­playing­position­time.

A­yellow­PLAY­CURSOR­(figure­3.25)­will­be­moving­on­the­waveform­during­play.­ You­ can­ click­ anywhere­ in­ the­waveform­ to­ set­ a­ different­ playback­position,­ or­ you­ can­ click­ and­ roll­ on­ the­ COUNTER­ display­ for­ the­ same­result.

figure­3.25

You­can­also­zoom­the­audio­file­using­the­+/-­buttons­of­the­waveform­dis-play­to­precisely­select­specific­points­of­the­audio­file.­The­underneath­scroll­bar­will­allow­to­easily­scroll­your­audio­file­time­line­(figure­3.26).

When­the­LOOP­play­button­ is­enabled­ two­LOOP­POINTS­yellow­markers­will­appear­on­the­waveform­so­you­can­drag­them­in­your­preferred­listen-ing­positions,­setting­the­loop­points­(figure­3.27).

figure­3.27

figure­3.26

figure­3.24

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You­can­apply­FADE­IN/OUT­to­your­file­by­positioning­the­green­FADE­IN/OUT­markers­that­appear­on­the­waveform.­By­clicking­on­the­IN­and­OUT­markers­you­will­set­the­IN/OUT­points­of­your­fade­in/fade­out­and­by­mov-ing­the­FADE­markers­of­both­you­will­ indicate­the­fade­in­and­out­timing­(figure­3.28).

figure­3.28

The­fade­in/out­areas­will­be­highlighted­in­green.­The­precise­fade­in/out­time­will­be­displayed­over­ the­waveform­ in­ the­ fade­ in/out­panel.­ In­ the­panel­ you­ can­also­ select­ the­ type­of­ fade­ in/out­ curve­by­ clicking­on­ the­curve­ icons­ and­ selecting­ the­ one­ you­ prefer­ among­ linear,­ exponential,­logarithmic­(fade­in)­and­linear,­logarithmic­(fade­out)­(figure­3.29).

In­T-RackS­3­standalone­you­can­also­use­snapshots­to­apply­different­set-tings­of­T-RackS­processors­during­play.­

To­insert­a­new­settings­SNAPSHOT­simply­change­one­or­multiple­param-eters­of­your­inserted­processor­chain­and­than­click­on­the­SNAP­button.­A­snapshot­marker­will­appear­(figure­3.30).

figure­3.30

By­ default­ a­ SNAPSHOT­marker­ number­ 1­ is­ always­ present­ at­ the­ start­of­ the­audio­ file­when­the­file­ is­ loaded­ in­ the­player/editor,­so­when­you­take­a­snapshot­for­the­first­time­this­will­be­numbered­as­2.­The­snapshot­memorizes­ and­ applies­ the­ modified­ settings­ you­ have­ applied­ to­ your­inserted­ processor­ chain.­ You­ can­ change­ the­ snapshot­ position­ by­ drag-ging­it­over­the­audio­file.­The­active,­selected­snapshot­has­its­number­in­white­ on­ its­ label,­ its­ number­ and­ time­ line­ position­ are­ indicated­ in­ the­SNAPSHOT­panel.

Now­if­you­click­on­the­ON­button­in­the­SNAPSHOT­panel­(figure­3.31)­and­you­play­the­file,­as­soon­as­the­play­cursor­reaches­the­inserted­snapshot,­the­processor­chain­will­change­its­settings.­You­can­take­up­to­9­different­snapshot­settings­and­apply­them­any­time­you­want­over­the­time­line­of­figure­3.31

figure­3.29

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the­audio­file.­A­convenient­COPY­function­is­available­so­you­can­apply­pre-vious­snapshots­in­other­position­of­the­audio­file­(for­example­to­re-insert­the­same­snapshot­in­the­various­chorus/verse­parts­of­your­song).­Simply­position­the­play­cursor­in­the­time­line­position­where­you­want­the­new­snapshot­to­be­placed­and­click­on­the­COPY­pop­up­menu­button,­which­will­display­the­currently­taken­snapshots.­Click­on­the­number­of­the­snapshot­you­want­to­insert­to­copy­it­in­the­new­position­(figure­3.32).

figure­3.32

To­delete­snapshots­simply­click­on­ the­DELETE­button­ (figure­3.33)­ in­ the­SNAPSHOT­ panel­ after­ you­ have­ selected­ the­ snapshot­ that­ you­ want­ to­delete.

Copied­snapshots­are­always­kept­the­same.­This­ is­very­convenient­when­you're­ using,­ for­ example­ 3­ snapshots­#1­ for­ all­ your­ verses­ and­ two­#2­for­all­your­chorus.­Should­you­decide­to­retouch­the­choruses­EQ­a­single­retouch­ on­ a­ single­ chorus­will­ affect­ all­ other­ ones­ (related­ to­ snapshot­#2).­For­this­example,­if­you­prefer­having­“independent”­choruses,­just­use­individual­snapshots­without­copying­them.

If­ you­want­ to­ temporarily­ “suspend”­ the­ snapshots­ automation­ just­ turn­them­OFF­by­ clicking­on­ the­grey­ON­button­ (figure­3.31).­ Your­previously­saved­snapshots­automation­will­be­restored­when­you'll­enable­it­again.

figure­3.33

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Chapter 4 T-RackS 3 module processors

The­new­T-RackS­3­offer­up­to­9­Dynamics/EQ­processors­comprised­of­3­new­analog­and­vintage­emulations­(including­models­based­on­the­Fairchild­670­and­the­Pultec­EQP-1A)­and­2­new­digital­processors­as­well­the­four­classic,­award-winning­T-RackS­processors.

4.1 Vintage Tube Compressor/Limiter model 670

figure­4.1

Based­on­the­“Holy­Grail”­of­compressors/limiters,­the­Fairchild®­670.­With­a­ faithful­ reproduction­ of­ every­ control­ (figure­ 4.1),­ this­ is­ an­ incredibly­accurate­model­that­captures­every­nuance­of­one­of­the­best­Fairchild­units­available.­

Controls:

AGC: • sets­ the­ compressor­ channels­ mode.­ Set­ it­ to­ Left/Right­ for­unlinked­stereo­(independent­channels)­operation.­Set­ it­ to­Link for­linked­ stereo­ operation­ (both­ channels­will­ have­ identical­ settings­except­ for­ Input­Gain,­ and­ the­ same­amount­of­ gain­ reduction­will­always­be­applied­to­both­channels­to­ensure­stereo­image­stability.­Set­it­to­Lat/Vert to­have­the­compressor­two­channels­to­work­on­Mid­and­Side­portions­of­the­Stereo­signal.­With­this­mode­you'll­be­able­to­process­independently­your­Center­(Lat)­and­Sides­(Vert)­image­of­the­stereo­program.

LEFT-LAT DC Threshold:• ­ exactly­ like­on­ the­original­unit,­ set­ it­ fully­counterclockwise­for­maximum­softness­of­the­compression­knee,­set­it­fully­clockwise­for­maximum­hardness­of­the­compression­knee.

RIGHT-VERT:• ­same­as­LEFT-LAT­DC­Threshold,­for­Right­channel.

LEFT-LAT TIME CONSTANT: • sets­the­compressors­release­time.­Positions­1­from­4­are­single­time­constant,­from­quick­to­slow,­positions­5­and­6­are­dual­time­constants­and­are­especially­useful­for­mixed­stereo­material.

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RIGHT-VERT TIME CONSTANT:• ­ same­ as­ LEFT-LAT­ TIME­ CONSTANT,­for­right­channel.

LEFT CHANNEL INPUT GAIN:• ­sets­the­compressor­input­gain­on­Left­channel.­When­no­compression­is­happening­set­this­knob­to­10­for­unity­I/O­gain.

RIGHT CHANNEL INPUT GAIN:• ­same­as­LEFT­CHANNEL­INPUT­GAIN,­for­right­channel.

LEFT-LAT THRESHOLD: • sets­the­amount­of­compression.­Fully­coun-terclockwise­means­no­ compression,­ fully­ clockwise­give­ the­maxi-mum­possible­amount­of­compression­for­that­signal.

RIGHT-VERT THRESHOLD:• ­ same­as­ LEFT-LAT­THRESHOLD,­ for­ right­channel.

IN/OUT/GR METERS:• ­when­set­to­IN­the­VU­meters­will­indicate­the­audio­level­at­the­inputs­of­the­compressor.­When­set­to­OUT­they­will­indicate­ the­audio­ level­at­ the­outputs­of­ the­compressor.­The­most­important­ indication­ is­GR­(default)­where­ the­amount­of­compres-sion­ in­ dB­ is­ shown.­Always­use­ the­GR­position­when­dialing­ the­desired­compression­amount­with­THRESHOLD­knobs.

OUTPUT:• ­sets­the­output­level,­within­a­+/-­15­dB­range.

BYPASS: • completely­bypasses­the­whole­unit.

RESET:• ­ brings­ the­ compressor­ back­ to­ its­ default­ state­ where­ a­compression­of­around­2­dB­is­happening­on­moderate­level­mixes.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.

4.2 Tube Program Equalizer model EQP-1A

figure­4.2

Based­on­what­ is­universally­known­as­one­of­ the­best­and­most­musical­

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program­EQs­ever­made,­ the­Pultec­EQP-1A.­Extremely­accurate­modeling­(figure­4.2)­of­a­two­real­world­units,­known­to­“have­the­sound”,­with­sonic­performance­ that­ is­ indistinguishable­ from­ the­ originals.­ Stereo­ or­ MS­operation.

Controls:

LOW FREQUENCY: • sets­the­frequency­intervention­point­for­the­low­shelving­boost­and­atten­filters:­20,­30,­60­or­100­Hz.­Please­note­that­because­ the­Pultec’s­original­ circuit­was­based­on­a­passive­equal-ization­network­ the­boost­ and­atten­ filters­will­ not­ cover­ the­ same­frequency­span,­and­will­not­cancel­one­each­other­if­set­identically.

LOW FREQUENCY BOOST:• ­ applies­ a­ low­ frequencies­ boost­ with­ a­shelving­ shape­ on­ the­ selected­ frequency­ range.­ Set­ it­ to­ 0­ for­ no­boost,­10­for­max­boost.

LOW FREQUENCY ATTEN:• ­applies­a­low­frequencies­attenuation­with­a­shelving­shape­on­the­selected­frequency­range.­Set­ it­ to­0­for­no­attenuation,­10­for­max­attenuation.

BANDWIDTH:• ­widens­(clockwise­position)­or­narrows­(counterclock-wise­position)­the­range­of­frequencies­covered­by­the­high­frequency­bell­curve.­This­control­does­not­affect­the­sound­of­the­low­frequency­filter­nor­the­one­of­the­high­frequency­attenuation.

HIGH FREQUENCY:• ­ sets­ the­ center­ frequency­of­ the­high­ frequency­bell­boost­filter:­3,­4,­5,­8,­10,­12,­16­kHz.­(The­high­frequency­boost­and­attenuation­filter­have­independent­frequency­settings).

HIGH FREQUENCY BOOST:• ­ applies­high­ frequency­boost­with­a­bell­shape,­centered­on­the­selected­frequency.­Set­it­to­0­for­no­boost,­10­for­max­boost.

HIGH FREQUENCY ATTEN:• ­attenuate­high­frequencies­with­a­shelving­shape­starting­from­the­selected­value­on­ATTEN­SEL.­Set­it­to­0­for­no­attenuation,­10­for­max­attenuation.

ATTEN SEL:• ­ sets­ the­ frequency­ intervention­ point­ for­ the­ high­ fre-quency­attenuation­filter:­5,­10­or­20­kHz.

OUTPUT:• ­sets­the­global­equalizer­gain,­from­-15­to­+­15­dB.

ON/OFF: • completely­bypasses­the­unit­when­on­the­OFF­position.

RESET:• ­resets­the­equalizer­to­its­initial,­flat,­state.

L=R:• ­linked­channels­mode.­Set­it­this­way­when­you­want­to­control­both­left­and­right­channels­at­the­same­time,­by­applying­the­exact­same­equalization­to­them.

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L/R:• ­click­on­L­or­R­icons­when­you­want­to­tweak­the­equalization­independently­on­the­Left­or­Right­channels.

M/S:• ­ this­option­uses­a­Mid-Side­matrix­ to­ insert­ the­equalizers­on­your­processing­chain.­This­means­that­you­will­be­able­to­equalize­independently­ the­Center­ or­ the­Sides­of­ your­ stereo­program.­ The­L­and­R­icons­will­be­replaced­by­M­and­S­when­in­this­mode.­Click­on­M­ to­equalize­ the­Center­ (Mid)­of­ your­ stereo­ image,­or­on­S­ to­equalize­the­Sides.

4.3 Opto Compressor

figure­4.3

Optical­ compression­ has­ a­ special­ sonic­ character­ that­ true­ audiophiles­appreciate.­ This­ analog-modeled­ module­ (figure­ 4.3)­ faithfully­ recreates­that­particular­(and­extremely­musical)­“movement”­that­characterizes­only­the­best­opto­compressors.

Controls:

INPUT: • sets­the­input­level­of­the­compressor,­from­-24­to­+24­dB.

RATIO:• ­ sets­ the­Ratio­of­ the­ compressor.­Use­ low­values­ for­gentle­and­ invisible­ mastering­ applications­ and­ higher­ values­ for­ more­powerful­and­obvious­compression.­Ratio­range­is­from­1:1­(no­com-pression)­to­30:1­(almost­limiting).

ATTACK:• ­sets­the­compressor­attack­time­from­0­to­50­ms.­Extremely­fast­attack­values­could­deliver­slight­distortion­on­certain­sounds.

RELEASE: • sets­the­compressor­release­time­from­30­ms­to­5­seconds.

COMPRESSION:• ­sets­the­amount­of­compression­that­is­applied­to­the­signal.­Fully­counterclockwise­means­no­compression,­fully­clockwise­means­full­compression.

IN/OUT/GR METERS:• ­when­set­to­IN­the­VU­meters­will­indicate­the­

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audio­level­at­the­inputs­of­the­compressor.­When­set­to­OUT­they­will­indicate­ the­audio­ level­at­ the­outputs­of­ the­compressor.­The­most­important­ indication­ is­GR­(default)­where­ the­amount­of­compres-sion­in­dB­is­shown.­Always­use­the­GR­position­when­dialing­in­the­desired­compression­amount­in­with­the­COMPRESSION­knob.

OUTPUT:• ­sets­the­compressor­output­level­within­a­range­of­+/-­24­dB.

BYPASS: • completely­bypasses­the­opto­compressor­module.

RESET:• ­ brings­ the­ compressor­ back­ to­ its­ default­ state­ where­ a­compression­of­around­2­dB­is­happening­on­moderate­level­mixes.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.

L=R:• ­the­same­settings­will­be­applied­to­L­and­R­compressors.­The­L­and­R­compression­will­be­exactly­the­same­if­the­LINK­button­is­ON,­to­avoid­stereo­image­shifts.

L/R:• ­click­on­L­or­R­icons­if­you­want­to­dial­in­specific­compression­setting­for­L­and­R­channels,­independently.

M/S:• ­ this­ option­ uses­ a­ Mid-Side­ matrix­ to­ insert­ the­ stereo­ com-pressor­on­your­processing­chain.­This­means­ that­you­will­be­able­to­ compress­ independently­ the­ Center­ or­ the­ Sides­ of­ your­ stereo­program.­The­L­and­R­icons­will­be­replaced­by­M­and­S­when­in­this­mode.­Click­on­M­to­set­the­compression­for­the­Center­(Mid)­of­your­stereo­image,­or­on­S­to­set­compression­for­the­Sides.

­

4.4 Intelligent, multi-algorithm Brickwall Limiter

figure­4.4

Brickwall­Limiter­(figure­4.4)­that­can­really­make­your­masters­loud­without­squashing­them­to­a­lifeless­sound.­Accurate­and­transparent,­digital­brick-wall­ limiting­doesn’t­get­any­better­ than­ this.­Selectable­algorithms­allow­you­to­match­the­best­limiting­style­for­each­program­type.

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IMPORTANT:­This­is­the­processor­that­should­be­always­used­at­the­end­of­your­ T-RackS­mastering­ chain­because­ it­ has­ special­ features­ to­ keep­ the­final­output­level­of­your­master­under­control.

The­ “D/A Distortion Protection” option­ that­ can­ be­ enabled­ from­ the­Preferences­panel­does­NOT­have­the­proper­effect­when­this­module­is­not­used­at­the­end­of­the­processing­chain.

Controls:

GAIN REDUCTION: • shows­ the­amount­of­ limiting­ that­ is­happening­in­ the­ gain­ reduction­ element­ of­ the­ limiter.­ Limiting­ obtained­ by­saturation­or­clipping­is­NOT­shown­by­this­meter.

INPUT:• ­sets­the­input­level­for­the­limiter,­and­therefore­the­volume­increase­the­limiter­will­give.

ATTACK TIME:• ­sets­the­limiter­attack­time.­Depending­on­how­much­limiting­you're­applying­it­may­be­necessary­to­increase­this­value­to­preserve­percussive­material’s­sense­of­impact.

RELEASE TIME: • sets­the­limiter­release­time.­The­longer­the­release­time­the­softer­the­limiter­will­be.­Short­and­very­short­release­times­will­make­the­limiter­more­suitable­for­rock,­R&B,­pop­etc,­while­lon-ger­release­times­will­make­the­limiter­more­suitable­for­music­that­is­generally­mastered­quieter,­like­jazz,­classic,­fusion­etc.

STYLE:• ­sets­the­style­the­limiter­will­use.­Options­are:Clean: •­ this­is­the­cleanest­and­most­transparent­style,­useful­for­genres­where­the­complete­absence­of­distortion­is­a­must.Advanced 1, 2, 3, 4•­ :­these­styles­uses­a­“mix”­between­warm­and­smooth­saturation­and­digital­limiting.­All­offer­more­punch­and­color­than­“Clean”.Sat 1, 2, 3•­ :­these­styles­use­various­forms­of­saturation­as­limit-ing.­The­Gain­Reduction­meter­will­not­show­reduction­because­the­gain­reduction­element­is­not­working­on­these­styles.Clipping•­ :­ straight­ digital­ 0­ dBFS­ clipping,­ no­ gain­ reduction­shown.

OUTPUT CEILING:• ­sets­the­top­level­the­audio­will­never­be­allowed­to­exceed.­Typically­set­to­-0.1­or­0.2­dB.­If­“D/A Distortion Protection” is­selected­in­the­Preferences­this­can­be­left­to­0­dB.

OUTPUT:• ­peak­indication­of­the­limiter­output­audio­level.

BYPASS: • completely­bypasses­the­Brickwall­limiter.

RESET:• ­brings­the­limiter­back­to­its­default­state.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.

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L=R:• ­click­on­the­L­or­R­icons­if­you­want­to­tweak­the­limiter's­L­or­R­channels­independently.

4.5 High precision, high definition Linear Phase Equalizer

figure­4.5

An­ accurate,­ high­ definition,­ high­ precision­ EQ­ (figure­ 4.5)­ that­ can­ be­trusted­for­delicate­Mastering­tasks­with­6­completely­identical­bands­that­can­be­set­to­all­available­filter­types­and­that­can­span­the­whole­spectrum­range­(any­kind­of­overlap­is­possible).­Switchable­between­minimum­and­linear­phase­characteristics.­Stereo­or­MS­operation.

Controls:

GAIN/RES 1-6: • sets­ the­ gain­ from­ -15­ to­+15­dB­when­ the­band­ is­set­to­Peaking­or­Shelving.­When­the­band­is­set­to­High­or­Low­pass­filters­this­knob­will­control­the­resonance.

FREQ 1-6: • sets­the­center­or­cutoff­frequency­for­the­band,­all­bands­can­span­from­10­Hz­to­20­kHz.

Q 1-6: • sets­ the­bandwidth­of­ the­Peaking­ filters,­Q­ ranges­ from­0.2­to­20.­When­bands­are­set­ to­Shelving­ this­knob­will­set­ the­shape­of­ the­ shelving­ filter­ from­ gentle­ to­ steep­ and­ resonant,­ spanning­from­0.2­to­3.

BAND ON/OFF: • each­band­can­be­turned­On­or­Off­independently.­All­bands­are­Off­at­startup.­When­the­band­is­ON­the­button­is­green.

BAND FILTER TYPE: • each­band­can­be­set­to­work­as­a­Peaking­filter­(default­for­bands­from­2­to­5),­Shelving­filters­(defaults­for­bands­1­and­6)­and­high­or­low­pass­filers­(figure­4.6).

OUTPUT:• ­sets­the­equalizer­output­level,­from­-15­to­+15­dB.

OUTPUT METER:• ­peak­meter­for­the­equalizer­output­audio­signal.

figure­4.6

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LINEAR PHASE:• ­ sets­ the­ phase­ characteristic­ of­ the­ equalizer.­When­ Off­ the­ equalizer­ performs­ with­ minimum­ phase­ charac-teristics,­ when­ On­ the­ equalizer­ is­ completely­ linear­ phase.­­IMPORTANT:­LINEAR­PHASE­can­be­activated­only­if­the­“Oversampling­+­Linear­Phase”­option­in­preferences­is­checked.

CURVE DISPLAY:• ­this­display­shows­the­resulting­equalization­curve­for­both­channels.­Individual­bands­EQ­points­can­be­dragged­to­set­Gain­and­Frequency­points­without­using­the­equalizer­knobs.

BYPASS: • completely­bypasses­the­whole­equalizer.

RESET:• ­brings­the­equalizer­back­to­its­default,­flat,­state.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.

L=R:• ­linked­channels­mode.­Set­it­this­way­when­you­want­to­control­both­left­and­right­channels­at­the­same­time,­by­applying­the­exact­same­equalization­to­them.

L/R:• ­click­on­L­or­R­icons­when­you­want­to­tweak­the­equalization­independently­on­the­Left­or­Right­channels.­Left­channel­curve­will­be­displayed­in­green,­right­channel­in­red.

M/S:• ­ this­option­uses­a­Mid-Side­matrix­ to­ insert­ the­equalizers­on­your­processing­chain.­This­means­that­you­will­be­able­to­equalize­independently­ the­Center­ or­ the­Sides­of­ your­ stereo­program.­ The­L­and­R­icons­will­be­replaced­by­M­and­S­when­in­this­mode.­Click­on­M­ to­equalize­ the­Center­ (Mid)­of­ your­ stereo­ image,­or­on­S­ to­equalize­the­Sides.

4.6 Classic T-RackS Compressor

figure­4.7

­

The­T-RackS­classic­tube­compressor­(figure­4.7)­emulates­that­classic,­ana-log,­hi-end­vintage­gear­used­in­mastering­applications.­This­will­give­you­that­ big,­ warm­ sound­ typical­ of­ highly­ acclaimed­ hardware­ devices.­ This­

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compressor­has­some­unique­features­that­make­it­very­flexible­but­always­very­musical­and­creative.

Controls:

SIDECHAIN HPF: • this­control­adds­a­high­pass­filter­to­the­detector­stage­of­the­compressor.­The­detector­stage­is­where­the­compressor­analyzes­the­incoming­signal­and­determine­how­gain­reduction­must­be­applied.­This­variable­high­pass­filter­prevents,­when­turned­up,­that­compres-sion­pumping­effect­mainly­caused­by­the­material’s­ low­end­content.­The­ higher­ this­ knob­ the­ softer­ and­more­ inaudible­ the­ compression­character­will­be.­At­the­minimum­or­at­very­low­settings­the­compres-sion­will­be­much­more­aggressive­and­noticeable.­Use­lower­settings­when­you­want­to­“hear”­the­compression­effect­and­use­higher­values­for­a­gentle­compression,­as­you­may­want­in­acoustic­mixes.

ATTACK TIME:• ­ adjust­ this­ control­ to­ change­ the­ speed­ of­ compres-sion­ in­ the­ attack­ phase.­ With­ higher­ values,­ transients­ will­ pass­unaltered­through­the­compressor.­With­lower­values­the­gain­reduc-tion­will­respond­quicker­and­transients­will­be­more­affected.­Value­range­is­from­15­ms­to­80­ms.­While­adjusting,­check­the­release­time­value­above­the­knob­to­see­the­attack­time­value­you're­setting.

RATIO:• ­use­this­control­to­define­the­strength­of­the­compression.­Lower­values­ give­ a­ gentler­ and­ less­ noticeable­ compression­ effect,­ more­suitable­ for­ 2-tracks­mixes­ and­ acoustic­ sounds.­ Higher­ values­ give­a­more­effective­compression­effect­with,­at­times,­all­the­side-effects­you­might­expect­ from­a­over-compression­process.­These­effects­are­sometimes­ desirable,­ that's­ why­ T-RackS's­ compressor­ ratio­ control­sweeps­up­to­a­value­of­5.­If­you­are­not­sure­which­ratio­control­value­is­suitable­for­your­needs,­start­setting­this­control­at­2­-­3.

RELEASE TIME: • adjust­this­control­to­change­the­speed­of­compres-sion­in­the­release­phase.­Using­higher­values,­the­recovery­time­will­be­longer­and­the­compression­will­be­less­noticeable.­Using­lower­values,­ the­ recovery­ time­will­be­shorter­and­ the­average­ loudness­will­be­higher.­Value­range­is­from­70­ms­to­1.5­s.­

INPUT DRIVE:• ­this­knob­controls­the­amount­of­signal­that­drives­the­compressor's­input.­This­is­no­threshold­point­leveller­so­the­amount­of­compression­is­determined­by­the­strength­of­input­signal.­Range­is­from­-18­dB­to­+18­dB.

STEREO ENHANCEMENT:• ­ this­ control­will­ affect­ the­ stereo­ imaging­of­your­mix.­Turning­it­up­you­will­increase­the­stereo­width­and­vice­versa.­While­ adjusting­ this­ knob­ check­ the­ value­ you're­ setting­ (in­dB).­Value­range­is­from­-5­to­+5­dB,­where­0­dB­has­no­effect.

GAIN REDUCTION VU:• ­ this­ analog­ VU­ shows­ the­ amount­ of­ Gain­reduction­in­dB.­When­compression­does­not­occur,­the­VU­shows­0­

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dB.­When­ compression­ is­ affecting­ the­ signal­ the­VU­ indicates­ the­level­of­compression­in­dB.

OUTPUT: • this­knob­controls­the­compressor­output­level.

BYPASS:• ­ this­ switch­ allows­ you­ to­ bypass­ the­ Compressor­ mod-ule.­ When­ the­ LED­ is­ lit,­ the­ Compressor­ is­ ON.­ To­ turn­ OFF­ the­Compressor­module,­click­the­switch­so­that­the­LED­is­OFF.

RESET:• ­ brings­ the­ compressor­ back­ to­ its­ default­ state.­ Clicking­ on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.­

4.7 Classic T-RackS Multi-band Limiter

figure­4.8

­

This­three-band­peak­limiter (figure 4.8)­can­make­the­mix­even­louder­by­reducing­unwanted­peaks.­The­peak­ limiting­action­ is­made­separately­on­the­three­bands­(low,­mid,­high).­You­will­have­a­very­loud­master,­without­clipping,­though­as­with­any­of­these­processors,­use­care­not­to­over-do­it.­Leaving­ the­output­ knob­ set­ to­ 0­dB­means­ that­ the­ limiter­ output­ signal­can’t­go­beyond­–0.05­dBfs.

Controls:

SINGLE BAND LEVEL: • these­3­knobs­set­the­level­(volume)­of­the­three­bands.­This­is­very­useful­to­get­the­correct­level­of­each­band­after­the­limiting.­Use­this­as­a­very­broad­tone­control­tool­on­the­mix.­This­is­a­global,­three­band,­equalizer­too.

SINGLE BAND THRESHOLD: • these­ 3­ knobs­ set­ the­ limiting­ amount­over­ the­ individual­band.­ Lowering­ the­ value­ the­ threshold­will­ be­lower­ and­ the­ limiting­ more­ frequent.­ Raising­ the­ threshold­ will­make­the­limiter­compress­that­band­less.­You­can­check­this­by­look-ing­at­the­analog­VU­on­the­right,­this­shows­the­average­compres-sion­of­the­three­bands.

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CROSS OVER POINTS:• ­ these­ two­ knobs­ set­ the­ two­ frequency­ split­points,­the­low-mid­split­and­the­mid-high­split.­The­default­positions­are­ fine­ in­ general­ but­ you­ can­ experiment­ with­ different­ settings.­For­example­ lower­ the­ low-mid­point­ to,­say,­70­Hz­ to­only­ limit­and­tighten-up­the­low­end.

RELEASE TIME: • adjust­this­control­to­change­the­speed­of­limiting­in­the­release­phase.­This­is­the­amount­of­time­the­limiter­will­take­to­return­to­normal­gain­after­a­peak­limiting­has­occurred.­While­adjust-ing,­check­the­current­Limiter­numeric­display­to­see­the­release­time­you're­setting.­Value­range­is­from­60­ms­to­1.6­seconds.

INPUT DRIVE:• ­this­knob­controls­the­amount­of­signal­that­drives­the­multiband­limiter­input.­Unlike­the­compressor­module,­this­one­has­an­exact­threshold­point­where­it­starts­to­limit­the­signal.­If­you­drive­more­signal­through­the­limiter­input,­more­peaks­will­be­limited­and­the­sound­will­be­louder.­If­you­want­to­preserve­more­peaks,­set­this­control­to­a­lower­value.­Values­range­is­from­-10­dB­to­+­15­dB.­While­adjusting­Input­Drive,­check­the­values­(in­dB)­by­looking­at­the­value­above­the­Drive­knob.

OVERLOAD:• ­ this­ control­ will­ affect­ the­ way­ Limiter­ reduces­ peaks.­Setting­this­knob­to­a­lower­value­will­result­in­more­frequent­“pure”­gain­reduction­by­the­limiter.­Setting­this­knob­to­a­higher­value­will­result­in­less­frequent­gain­reduction,­but­in­more­frequent­clipping.­Obviously­ setting­ this­ control­ at­ higher­ values­ will­ give­ you­more­loudness,­but­more­clipping­across­the­0­dB­level.

GAIN REDUCTION VU:• ­ this­ analog­ VU­ shows­ the­ amount­ of­ Gain­reduction­ in­dB.­When­ limiting­does­not­occur­ the­VU­shows­0­dB.­When­ limiting­ is­ affecting­ the­ signal,­ the­VU­ indicates­ the­ level­ of­limiting­ in­ dB.­ This­ VU­ shows­ the­ average­ value­ of­ limiting­ by­ all­three­spectral­bands.

OUTPUT: • this­knob­controls­the­limiter­output­level.

BYPASS:• ­this­switch­allows­you­to­bypass­the­Limiter­module.­When­the­LED­is­lit,­the­Limiter­is­ON.­To­turn­OFF­the­Limiter­module,­click­the­switch­so­that­the­LED­is­OFF.

RESET: • brings­ the­ limiter­ back­ to­ its­ default­ state.­ Clicking­ on­ this­button­again­will­bring­your­settings­back,­ in­ case­you­hit­ reset­by­mistake.­

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4.8 Classic T-RackS Clipper

figure­4.9

­

This­clipping­stage­module­(figure 4.9) is­useful­every­time­you­need­to­cut­out­all­the­peaks­that­keep­the­average­level­of­a­signal­too­low.­Peak­clip-ping­is­very­often­used­in­mastering­because­it's­in­most­cases­more­trans-parent­than­peak­limiting.­

Controls:

GAIN: • the­Gain­ control adjusts­ the­ pre-level­ of­ this­ clipping­ stage.­This­is­the­level­of­the­signal­injected­into­the­clipper­and­will­deter-mine­ the­quantity­of­saturation­applied­ to­ the­audio.­TIP:­ leave­ the­OUTPUT­now­at­0­dB­because­doing­this­the­clipper­limiter­will­never­go­beyond­–0.05­dBfs,­regardless­of­the­Gain­level­you­dial­in

GAIN REDUCTION METER: • shows­ instant­ by­ instant­ the­ amount­ of­signal­that­is­attenuated­by­the­clipping/saturation­effect.­

SLOPE: • the­clipping­shape­of­this­stage­is­adjustable.­It's­continuously­variable­from­a­straight­digital­hard­clip­(fully­clockwise)­to­ultra­soft­non-clipping­ mode­ (fully­ counterclockwise).­ Depending­ on­ music­styles,­the­clipping­can­be­less­noticeable­either­with­softer­or­harder­shapes;­that's­why­this­control­is­continuously­adjustable.­Only­your­ears­ can­ detect­ the­ optimal­ clipping­ shape­ for­ the­ piece­ of­ music­you're­mastering.­If­you­are­unsure,­start­with­a­middle­value,­say­3­dB,­as­a­starting­point.

SAT:• ­when­ the­signal­ is­ in­ the­non-linear­zone­ (saturation)­ the­SAT­LED­lights­up.

OUTPUT:• ­this­is­internally­calibrated­to­ensure­that­the­output­of­the­clipper­ will­ never­ overload.­ This­ means­ that,­ regardless­ the­ input­level­of­ the­clipper­and­ the­position­of­ the­GAIN­knob,­you’ll­never­get­samples­over­0dB­out­from­this­module­because­the­internal­clip-ping­has­a­–0.05­dBfs­ceiling.­This­is­only­valid­if­the­OUTPUT­knob­is­set­at­0­dB.

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OUTPUT METER: • shows­the­peak­output­level­on­the­same­bar­for­L­and­R­channels,­L­is­on­the­top­and­R­on­the­bottom.­

OVER:• ­these­two­LEDs,­separate­for­left­and­right­channels,­light­up­ONLY­when­ a­ digital­ overload­ at­ the­ clipper­ outputs­ has­ occurred.­In­ theory­ they­ should­never­ turn­on.­Adjust­ the­OUTPUT­ control­ to­ensure­they­stay­off,­with­as­high­a­level­as­possible.

BYPASS:• ­this­completely­bypasses­the­Clipper­module.

RESET: • brings­the­Clipper­back­to­its­default­state.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.­

4.9 Classic T-RackS Equalizer

figure­4.10

­

T-RackS­Classic­Equalizer­ (figure 4.10)­ consists­of­a­high­quality­six-band­parametric­ EQ,­ specially­ designed­ to­ achieve­ high-end­ performance­ in­ a­mastering­environment.­It­consists­of:

1) 4th order High-pass filter, from 16 Hz to 5.3 kHz.2) Low shelving type filter, from 30 Hz to 200 Hz.3) Low-mid peaking type filter, from 33 Hz to 5.4 kHz, variable Q.4) High-mid peaking type filter, from 200 Hz to 17.5 kHz, variable Q.5) High shelving type filter, from 750 Hz to 8.5 kHz.6) 4th order Low-pass filter, from 200 Hz to 18 kHz.

Controls:

LOW CUT band ON/OFF: • use­this­button­to­turn­On­and­Off­the­band­filter.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

LOW CUT: • the­ knob­ adjusts­ this­ frequency­ of­ the­ high­ pass­ filter.­Sweep­range­is­from­16­Hz­to­5.3­kHz.­

LOW band ON/OFF: • use­this­button­to­turn­the­filter­On­and­Off.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

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LOW FREQ: • the­knob­adjusts­the­frequency­range­of­low-shelving­filter.­All­frequencies­up­to­this­value­will­be­boosted­or­reduced.­You­can­set­the­cutoff­frequency­anywhere­from­30­Hz­to­200­Hz.­

LOW GAIN:• ­use­this­control­to­boost­or­reduce­the­level­of­this­band.­The­range­is­from­-15­dB­to­+15­dB.

LOW MID band on/off: • use­this­button­to­turn­the­filter­On­and­Off.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

LOW MID FREQ:• ­ this­knob­adjusts­ the­center­ frequency­of­ the­Low-Mid­peaking­filter.­Range­is­33­Hz­to­5.4­kHz.

LOW MID GAIN: • use­this­control­to­boost­or­reduce­the­effect­of­this­filter.­Range­is­from­-15­dB­to­15­dB.

LOW MID Q:• ­sets­the­bandwidth­of­the­peaking­filter,­from­0.2­(broad)­to­20­(sharp).

HI MID band on/off: • use­this­button­to­turn­the­filter­On­and­Off.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

HI MID FREQ:• ­ this­knob­adjusts­ the­ center­ frequency­of­ the­Hi-Mid­peaking­filter.­Range­is­from­750­Hz­to­17.5­kHz.

HI MID GAIN:• ­use­this­control­to­boost­or­reduce­the­effect­of­this­fil-ter.­Look­at­the­value­below­the­knob­to­check­the­value­(in­dB)­you're­setting.­The­range­is­from­-15­dB­to­15­dB.

HI MID Q:• ­sets­the­bandwidth­of­the­peaking­filter,­from­0.2­(broad)­to­20­(sharp).

HI band ON/OFF: • use­this­button­to­turn­the­filter­On­and­Off.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

HI FREQ: • this­knob­adjusts­the­frequency­range­of­the­high­shelving­filter.­Range­is­from­200­to­18­kHz.­

HI GAIN:• ­use­this­control­to­boost­or­reduce­the­effect­of­this­filter.­Its­range­is­from­-15­dB­to­+15­dB.

HI CUT band ON/OFF: • use­ this­ button­ to­ turn­On­ and­Off­ the­ band­filter.­When­the­filter­is­active­the­button­is­highlighted­in­yellow.

HI CUT: • this­knob­adjusts­ the­cut-off­ frequency­of­ the­ lo-pass­ filter.­Range­is­from­200­to­18­kHz.

OUTPUT: • sets­the­equalizer­output­level­from­-15­to­+15­dB.

CURVE DISPLAY:• ­this­display­shows­the­resulting­equalization­curve­

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for­both­channels.­Individual­bands­EQ­points­can­be­dragged­to­set­Gain­and­Frequency­points­without­using­the­equalizer­knobs.

BYPASS:• ­completely­bypasses­the­equalizer.

RESET: • brings­the­Equalizer­back­to­its­default,­flat,­state.­Clicking­on­this­button­again­will­bring­your­settings­back,­in­case­you­hit­reset­by­mistake.

L=R:• ­linked­channels­mode.­Set­it­this­way­when­you­want­to­control­both­left­and­right­channels­at­the­same­time,­by­applying­the­exact­same­equalization­to­them.

L/R:• ­click­on­L­or­R­icons­when­you­want­to­tweak­the­equalization­independently­on­the­Left­or­Right­channels.­Left­channel­curve­will­be­displayed­in­green,­right­channel­in­white.

M/S:• ­ this­option­uses­a­Mid-Side­matrix­ to­ insert­ the­equalizers­on­your­processing­chain.­This­means­that­you­will­be­able­to­equalize­independently­ the­Center­ or­ the­Sides­of­ your­ stereo­program.­ The­L­and­R­icons­will­be­replaced­by­M­and­S­when­in­this­mode.­Click­on­M­ to­equalize­ the­Center­ (Mid)­of­ your­ stereo­ image,­or­on­S­ to­equalize­the­Sides.

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Chapter 5 Metering

T-RackS­3­ includes­a­new­high­quality,­high­precision,­ complete­metering­section.­This­includes:

A­precision­three-scale­Peak­meter­with­accurate­sample­ indicators­•­and­real­digital­“Over”­indication.Real­Perceived­Loudness­meter.­•­Phase­ scope,­with­ options­ to­match­ the­ style­ and­ indication­ you’re­•­used­toPhase­correlation•­Spectrum­Analyzer­with­Peak,­RMS­and­Averaging­indications.•­RMS­meter•­Loudness­and­RMS­metering­“optimal”­zones’­ indication,­selectable­•­by­genre­and­style.

5.1 Peak Meter

figure­5.1

This­ is­ a­ precision­ sample-accurate­ peak­ meter­ that­ shows­ the­ instanta-neous­audio­peak­level,­with­peak­hold­and­over­indication.

Numerical­ values­ for­ peak­hold­ values­ are­ shown­at­ the­ right­ of­ the­bar-graph.

The­peak­meter­can­work­on­three­scales,­selectable­by­clicking­on­the­Settings­button­(figure 5.2) and­selecting­the­Peak­Meter­section­(figure 5.3):

-90 .. 0 dB:•­ ­ this­scale­ is­very­wide­and­ is­good­for­general­purpose­peak­level­representation.-50 .. +5 dB:•­ ­this­scale­has­reduced­range­on­low­levels­and­can­be­useful­to­monitor­“higher­than­0dB”­signals,­as­it­goes­up­to­+5­dB.-60 .. 0 dB:•­ ­this­scale­has­a­“zoom”­at­the­high­portion­of­the­scale­so­that­the­upper­8­dB­spans­over­the­last­half­of­the­scale.­This­is­very­useful­to­keep­the­top­of­the­available­headroom­under­control.

OVER indicators: these­two­RED­light­will­ turn­on­only­when­more­than­3­consecutive­ 0­ dB­ full­ scale­ samples­ are­ present­ on­ the­ audio.­ If­ possible­always­avoid­having­these­indicators­to­turn­on­during­the­whole­duration­of­the­audio­file­you're­processing.­You­can­obtain­this­by­using­the­Brickwall­peak­limiter­and­lowering­the­Ceiling­value­to­-0.1­or­-0.2­dB­or­by­enabling­the­D/A Distortion Protection from­preferences.

figure­5.2

figure­5.3

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5.4 Perceived Loudness

figure­5.4

This­is­a­very­valuable­tool­not­commonly­found­in­software­applications.­Its­main­purpose­is­to­give­reliable­information­on­the­effective­“sense­of­loud-ness”­a­song­or­audio­in­general­delivers­to­the­listener.­It­works­by­combin-ing­accurate­averaging­and­frequency­weighting­on­the­program,­and­can­be­trusted­to­deliver­accurate­information­on­how­loud­the­song­will­appear.

NOTE:­both­Left­and­Right­channels­are­combined­into­the­same­display.

Loudness Suggested area: click­on­the­Settings­button­(figure 5.5),­Loudness­Suggestion,­ and­ select­ the­ genre­ which­ best­ describes­ the­ music­ you're­working­on­from­the­menu.­

The­colored­line­on­the­Perceived­Loudness­menu­(figure 5.6) will­move.­

This­ is­ the­ area­where­most­ commercial­ production­ are­ peaking­ on­ their most loud passages.­ The­ green­ area­ indicates­where­most loud passages should normally peak,­while­red­area­indicates­where­most loud passages are peaking in extreme conditions­or­on­very­loud­masters.

5.3 RMS

This­ is­ a­ standard­ precision­ RMS­ meter­ (figure 5.7) that­ gives­ valuable­information­about­the­“power”­of­the­audio­signal.

figure­5.7

Typical­ loud­masters­are­peaking­on­the­RMS­meter­at­-9,­even­-8­dB,­but­this­does­not­always­mean­“high­loudness”­because­the­RMS­meter­is­flat­in­frequency­response,­therefore­can­be­driven­very­high­by­programs­where­there­ is­ a­ very­ strong­ low­ frequency­ content.­ The­ usage­ of­ the­ Perceived­Loudness­Meter­together­with­RMS­will­give­you­the­best­picture.

NOTE:­both­Left­and­Right­channels­are­combined­into­the­same­display.

A­very­good­practice­is,­before­you­start­working­on­your­project,­loading­in­T-RackS­3­some­of­your­preferred­reference­albums­(with­no­processors­open­of­course)­and­check­where­both­Loudness­and­RMS­meters­are­peaking­and­how­they­relate­one­each­other­on­various­songs­passages.­This­will­give­you­a­very­useful­reference­to­correctly­set­the­overall­level­of­your­masters.

figure­5.5

figure­5.6

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5.4 Phase

The­Phase­scope­included­in­T-RackS­3­(figure 5.8) behaves­very­closely­to­those­you­usually­find­on­high­end­metering­devices­or­on­consoles.­The­fact­that­ it­ reacts­40-50­ times­ faster­ than­conventional­“plug-in”­phase­scopes­gives­you­much­more­useful­information.

Left­and­Right­channels­samples­are­shown­on­a­X/Y­scope­so­that­signals­present­on­a­channel­only­are­displayed­as­45­degrees­tilted­lines,­a­mono­signal­is­displayed­as­a­vertical­straight­line­and­a­completely­out­of­phase­signal­as­an­horizontal­line.

Then­the­stereo­master­ is­pushed­very­high­you'll­notice­a­ transformation­of­ the­ picture­ in­ a­ square,­ with­ sharp­ edges­ (figure 5.9).­ Analyzing­ your­preferred­ albums­ and­ reference­ against­ this­ characteristic­ will­ help­ you­understanding­how­much­this­can­be­pushed.

Settings: click­on­Settings­(figure 5.10),­Phase­to­have­access­to­the­Phase­­Scope­ settings.­ You­ can­ set­ the­ Phase­ Scope­ to­ display­ samples­ as­ Dots­or­ Lines­ and­ select­ various­ levels­ for­ the­ display­ speed.­ By­ enabling­ the­Normalize­ function,­ you'll­ make­ the­ scope­ display­ with­ the­ same­ width­signals­of­any­level,­even­very­low­ones­(default).

5.5 Correlation

The­phase­correlator­(figure 5.11) is­a­very­simple­meter­that­shows­phase­correlation­between­the­two­Left­and­Right­channels­on­a­scale­from­-1­to­1.­A­mono­signal­will­show­+1,­a­completely­out­of­phase­signal­will­show­-1.

In­normal­conditions­music­will­continuously­move­between­+1­and­0.­Keep­in­mind­that­passages­that­stays­between­0­and­-1­will­be­perceived­signifi-cantly­lower­when­played­in­mono.

5.6 Spectrum Analyzer

This­ is­a­1/6­octave­FFT­spectrum­analyzer­ that­ can­be­ configured­ to­give­various­kind­of­information­(figure 5.12).­

figure­5.12

figure­5.10

figure­5.11

figure­5.8

figure­5.9

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When­set­ to­ react­ fast­or­ relatively­ fast­ (peak­or­RMS)­ it­ is­very­useful­ to­identify­portions­of­the­spectrum­that­need­retouching­with­the­equalizers,­and­when­set­ to­react­slowly­ (Average­mode)­ it­ is­very­useful­ to­keep­ the­overall­balance­of­the­audio­you're­working­on­under­control.

Settings: click­ on­ Settings­ (figure 5.13),­ Analyzer­ to­ have­ access­ to­ the­Spectrum­analyzer­settings.

-90 .. 0 dB:•­ ­vertical­scale­of­the­Spectrum­Analyzer­goes­from­-90­to­0­dB­(wider­scale).

-60 .. 0 dB:•­ ­vertical­scale­of­the­Spectrum­Analyzer­goes­from­-60­to­0­dB­(narrower­scale).

Curve / Bars:•­ ­sets­how­the­curve­is­drawn,­vertical­yellow­bars­(figure 5.12) or­1/6­octave­segmented­curve.

Tilt value, from 0 to 9 dB:•­ ­use­this­value­to­set­the­tilt­you­prefer­when­working­on­the­material­you're­familiar­with.­Higher­values­will­make­the­curve­rise­with­frequency,­the­0­dB­value­will­make­the­analyzer­flat,­showing­white­noise­as­an­horizontal­line.

Peak:•­ ­makes­ the­analyzer­have­ instantaneous­rise­ time­and­adjust-able­fall­time.­To­adjust­peak­mode­fall­time­select­one­of­the­three­Release­values,­250,­500­or­1000­ms.­This­is­the­preferred­mode­when­the­analyzer­is­used­to­get­fast­feedback­to­identify­frequency­areas­that­are­having­issues­or­that­you­need­to­follow­quickly­while­music­goes.

RMS:•­ ­similar­to­peak,­makes­the­analyzer­to­react­with­an­RMS­law,­making­it­slower­and­less­sensitive­to­very­short­peaks.

Average:•­ ­this­is­the­slower­indication­this­analyzer­has­and­it­is­very­useful­to­weight­the­overall­balance­of­audio­material.­The­analyzer­takes­30­seconds­to­get­to­the­average­and­after­this­time­the­visu-alization­will­ stabilize­ to­ a­ very­ easy­ to­ read­ display.­ The­ average­will­ reset­when­ the­audio­will­be­stopped,­or­when­clicking­on­ the­spectrum­analyzer­display.

L+R, L, R:•­ ­sets­what­channels­are­displayed­on­the­spectrum­analyzer.­L­displays­only­left­channel­audio,­R­only­right,­L+R­will­display­chan-nels­average.

FFT points, 2k, 4k, 8k, 16k:•­ ­sets­ the­resolution­of­ the­analyzer.­Use­high­values­(8k­or­16k)­if­you­need­high­accuracy­on­the­low­frequen-cies.

Show Peaks:•­ ­ enable­ this­ to­ turn­ on­ Peak­ hold­ indications­ on­ the­spectrum­analyzer­display.

figure­5.13

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Chapter 6 Automation

6.1 Automating parameters

T-RackS­3­has­lots­of­parameters,­more­than­what­typically­audio­sequenc-ers­ (DAWs)­ can­ support.­ For­ this­ reason,­ T-RackS­ 3­ has­ its­ own­ internal­Automation­Parameter­assignment­window­(figure­6.1)­that­is­launched­by­clicking­on­the­AUTO­button.

figure­6.1

The­Automation­window­includes­two­panes.­The­Left­Pane­is­called­Plug-in,­and­the­Right­Pane­is­called­DAW­Automation.

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6.2 Left Pane

The­Left­Pane­displays­T-RackS­slot­and­processor­module­parameters.

figure­6.2

On­ the­Left­Pane,­you­will­be­able­ to­select­which­T-RackS­parameter­you­are­ going­ to­ assign­ to­Automation.­Because­ of­ T-RackS­ audio­ chain,­ each­slot­is­listed­separately­1­to­4­A/B­and­5­to­8­(figure­6.2).­You­can­assign­any­of­the­T-RackS­modules­in­the­automation­slot­as­well­as­every­parameter­of­each­module.

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6.3 Right Pane

The­Right­Pane­lists­the­16­automation­parameters­that­are­declared­to­the­DAW­ (figure­ 6.2).­ These­parameters­names­ (Param­1­ to­Param­16)­are­ fixed­because­most­DAWs­do­not­support­automation­parameter­name­changes­while­the­plug-in­is­open.­Through­the­Right­Pane,­you­will­be­able­to­select­which­DAW­Automation­parameter­#­you’re­going­to­assign­to­the­T-RackS­param-eter­previously­selected­on­the­Left­pane.­For­example,­if­you­selected­a­the­T-RackS­ Classic­ Compressor,­ Attack­ Time­ on­ the­ Left­ pane­ and­ then­ click­ADD,­the­Right­Pane­will­display:­

Param­1:­Classic­Compressor,­Attack­Time­(figure­6.3).

figure­6.3

You­can­use­the­same­procedure­to­assign­the­remaining­automation­param-eters.­You­can­remove­single­parameter­assignment­with­the­REMOVE­but-ton,­or­remove­them­all­with­the­REMOVE­ALL­button.­

You­can­also­swap­DAW­automation­parameters­with­the­MOVE­UP,­MOVE­DOWN­buttons.

Clicking­ OK­will­ save­ and­ close­ the­ Automation­window.­ The­ automation­assignment­map­will­be­stored­and­restored­to­and­from­the­session­you’re­working­on.­

When­ working­ with­ multiple­ instances­ of­ T-RackS­ plug-in,­ each­ T-RackS­instance­is­independent­from­the­others­and­can­have­different­Automation­assignments­setup.­This­means­that­saving­your­DAW­session,­will­save­each­the­automation­setup­for­each­T-RackS­instance.

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Chapter 7 Mastering tips

7.1 Introduction

Mastering­is­the­final­stage­of­processing­made­on­a­group­of­stereo­mixes­before­going­to­press­on­audio­CDs,­movie­soundtracks,­multimedia­sound-tracks,­MP3­files­and­so­on.­Its­purpose­is­to­obtain­the­maximum­possible­sound­quality­from­the­original­mixes­by­“sweetening”­it­with­equalization,­compression­and­limiting,­with­the­aim­of­letting­the­music­shine­as­much­as­possible­in­all­its­nuances­and­potentially­enhancing­the­original­musical­production­aims­and­perspective.

Furthermore,­mastering­is­essential­to­balance­and­create­a­pleasing­conti-nuity­from­one­track­to­the­next­of­a­CD,­for­example.

It­is­extremely­important­to­work­with­the­best­possible­speakers­in­a­room­that­sounds­good­because­this­is­the­final­stage­where­you'll­have­to­make­decisions­on­the­overall­songs­balance,­and­it's­an­extremely­delicate­pro-cess­(see­paragraph­7.9).

If­you­have­to­process­the­audio­file­with­other­effects­ like­reverbs,­stereo­image­ corrections,­ phase­ coherency­ adjustments,­ spectral­ enhancers,­ and­so-on,­ be­ sure­ to­ do­ this­ before­mastering­with­ T-RackS. T-RackS should always be the last processing pass in the audio production work-flow.

7.2 T-RackS 3 chain setup tips

There­ are­no­ fundamental­ rules­ to­ be­ respected­ in­ the­ order­ to­ lay­ down­processors­on­the­T-RackS­3­chain.­You­can­start­analyzing­the­T-RackS­fac-tory­presets­to­discover­how­typical­mastering­chains­are­done,­and­you­can­start­experimenting­your­own­setups­later­on.

Something­that­should­always­be­considered­as­a­rule­is­placing a “finaliza-tion” processor like the T-RackS 3 Brickwall Limiter or the T-RackS Classic Multiband Limiter at the very end of the chain. This­will­allow­you­to­keep­the­final­level­of­your­master­under­control.

Typically­equalizers­are­placed­before­dynamics,­but­this­is­not­an­absolute­rule­by­any­means.

7.3 Comparing original mixes with the T-RackS processed master

During your work with T-RackS you can easily compare the sound of the processed version with the original one. T-RackS­allows­for­a­comparison­that­is­not­misled­by­the­volume­increase­that­is­typical­of­mastering.­To­do­that­simply­press­the­COMPARE­button­and­use­the­ON­-­OFF­button­to­com-pare­the­original­mix­with­the­processed­version­while­adjusting­(lowering)­

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the­level­of­the­processed­one­with­the­small­level­knob­on­the­right.­When­the­comparison­is­done­just­click­on­the­COMPARE­button­again­to­leave­this­feature­and­go­back­to­normal­work.

T-RackS­ 3­ remembers­ the­ level­ settings­ on­ the­ compare­ function­ so­ that­you'll­find­it­as­you­saved­it­for­the­project.

Comparing with the original material plays a key role in your mastering process. It will allow you do evaluate the sound change given by the mas-tering chain and setup without being misled by the volume increase.

This­ is­very­ important­ to­avoid­making­changes­on­ the­audio­ that­are­not­really­needed­or­even­worse­that­are­damaging­music.­So­remember,­during­your­work,­to­often­compare­your­mastered­version­with­the­original­mix­at­the­same­volume­to­be­really­able­to­evaluate­the­effects­of­the­processors­you­used.

7.4 Loudness

Nowadays­ everybody­wants­ to­make­ louder­ and­ louder­masters!­ T-RackS­3­allows­for­extremely­loud,­clean­and­detailed­masters.­But­be­aware­that­music­needs­to­have­ its­own­dynamics­respected­as­much­as­possible­and­that,­ even­ if­ good­ loud­masters­ are­ possible,­ there­ is­ a­ limit­ that­ should­never­be­exceeded.

T-RackS­gives­a­good­hint­on­these­limits­with­Perceived­Loudness­and­RMS­meters,­but­it­ is­fundamental­to­always­remember­that­only­your­ears­and­experience­will­tell­if­the­level­is­fine­or­not.

7.5 Simple mastering chain

This­is­great­starting­chain­(figure­7.1)­to­start­with­T-RackS­3:

figure­7.1

It­ includes­ the­ Classic­ T-RackS­ EQ,­ Classic­ T-RackS­ Compressor,­ Classic­T-RackS­Limiter­and­at­the­end­of­the­chain­Classic­T-RackS­Clipper.

For­Rock,­Pop,­etc..­start­with­2­dB­of­compression­on­the­Compressor,­anoth-er­1­-­2­on­the­Limiter­and­maybe­gain­a­few­dBs­on­the­clipper­as­well.

For­ a­ more­ straight­ and­ close­ to­ the­ original­ sound­ you­ can­ remove­ the­Multiband­ Limiter­ from­ this­ chain­ and­ just­ use­ the­ EQ,­ Compressor­ and­Clipper.

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7.6 Advanced mastering chain

The­new­high­end­processors­included­in­T-RackS­3­like­Vintage­Compressor­Model­670,­Linear­Phase­Equalizer,­Brickwall­Limiter,­Opto­Compressor,­and­the­EQ-1A­Tube­Vintage­Program­EQ,­ allow­ the­highest­ versatility­ during­mastering.­Think­to­these­modules­as­tools­in­your­gear­arsenal­to­be­chosen­from­depending­on­the­music­you're­working­on,­on­your­taste,­etc.­Feel­free­to­experiment­with­all­combinations­of­processors­on­all­kind­of­audio­mate-rial,­and­you’ll­find­very­good­results!

This­ (figure­ 7.2)­ is­ a­ very­ good­ starting­ chain­ for­ stereo­ Mastering­ with­T-RackS­3­new­processors­ if­ you­want­an­extremely­ transparent­and­pure­processing­path:

figure­7.2

It­ includes­the­Linear­Phase­Equalizer,­Opto­Compressor­and­Brickwall­peak­limiter.­It's­a­very­transparent­chain­that­will­add­very­little­coloration­and­will­respect­the­original­nuances­and­timbral­characteristic­of­the­music­as­much­as­possible,­even­while­giving­you­all­the­tools­to­master­the­music­properly.

Experimenting­with­more­vintage­characterized­sounds,­add­thickness­and­warmth,­like­with­this­chain­(figure­7.3).

figure­7.3

This­ includes­ the­ Linear­Phase­Equalizer,­Vintage­Compressor­model­ 670,­Vintage­ Program­ EQ1A­ and­ the­ Brickwall­ Limiter­ at­ the­ end,­ that­ could­eventually­be­replaced­by­the­Classic­T-RackS­Clipper.

Two Compressors: you­can­use two compressors in the chain if you want to give more consistency to levels without­having­to­push­too­much­one­single­compressor.­To­do­that­we­suggest­you­use­a­Vintage­Compressor­model­670­with­a­very­slow­Time­Constant,­ like­3­or­4­applying­2­dB­of­compression­Max,­followed­by­an­Opto­Compressor­set­to­respond­very­quickly,­with­short­attack­and­release­times,­applying­1­or­2­dB­of­compression­max.

Parallel Compression: you­may­ like­ the­ character­ and­musical­ feel­ that­ a­compressor­ can­give­when­ it's­pushed­heavily,­ but­ it­ can­be­ too­much­ for­mastering,­resulting­in­an­overcompressed,­somehow­lifeless­track.­A­good­trick­in­this­case­is­to­insert­in­parallel­with­the­compressor­a­non­compress-ing­device­or­another­compressor­set­to­attenuate­way­less,­if­not­at­all.­Use,­for­example,­slot­1A­and­1B­for­two­compressors,­one­set­to­compress­5­or­6­dB,­the­other­set­to­compress­0.5­dB­max.

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We suggest to always use linear phase equalization where you have to boost the low end in a mix that is already very dense, or when you need to tweak very sensitive midrange zones where lots of instruments are playing overlapping with vocals.

7.7 T-RackS 3 models tips

7.7.1 Vintage Compressor Model 670

figure­7.4

This­compressor­(figure­7.4)­is­magic.­You­will­immediately­notice­that­even­with­just­1­or­2­dB­of­compression,­or­even­less,­the­music­truly­shines.­Full­digital­recording­and­mixes­will­get­enormous­benefits­from­the­warmth­and­thickness­this­unit­will­deliver.

There­are­various­ways­you­can­work­with­this­device­and­get­a­large­range­of­results­from­it.­For­example,­since­the­modeling­of­the­amplifiers­stage­in­this­compressor­is­very­detailed,­you­can­experiment­with­various­levels­of­Input­Gain,­compensating­for­more­or­less­compression­with­the­Threshold­knobs,­and­for­higher­or­lower­output­level­with­Output­knob.­Set­the­input­level­to­-16­in­order­to­get­2­-­3­dB­of­compression,­and­rise­the­Output­level­to­get­the­level­you­want.­This­will­result­in­a­very­transparent­compression,­with­a­bit­of­nice­coloration,­but­not­much.

Then­you­can­try­setting­the­Input­gain­at,­say,­-4­dB.­The­compression­can­then­be­set­ to­get­ the­same­2­ -­3­dB­of­compression­and­ the­Output­ level­again­ to­match­ the­ level­you­need.­This­ time,­because­of­ the­higher­ input­drive­ on­ the­ unit,­ the­ sound­will­ be­much­more­ colored,­with­ a­ fabulous­thick,­warm­character.

Mixing single tracksThis­compressor­character­is­incredibly­musical­on­single­mix­tracks­as­well­(not­just­on­mastering­entire­mixes),­just­try­it­on­pretty­much­every­type­of­material:­Vocals,­Guitars,­Bass,­Piano,­Strings,­etc...­with­various­time­con-stants­and­5­-­6­dB­of­compression.­If­you­want­to­enhance­the­articulation­of­a­vocal­track­try­compressing­5­dB­with­time­constant­1.­The­resulting­vocal­won’t­sound­heavily­compressed,­just­more­consistent­and­solid.

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Keep­ DC­ threshold­ controls­ near­ the­ minimum­when­ you­ want­ the­ most­transparent­and­invisible­compression,­and­move­them­toward­maximum­if­you­want­the­compressor­to­be­more­noticeable­and­more­limiter-like.

Mixing drumsOn­ drums­ this­ compressor­ can­ be­ used­ to­ process­ a­ Stereo­ submix­ with­superb­ results,­ especially­ in­ Lat/Vert­ mode,­ where­ you­ will­ be­ able­ by­compressing­ the­ sides­ independently­ from­ the­ center­ to­ get­ the­ sound­of­the­room­exactly­the­way­you­want.­Since­the­attack­time­is­very­fast,­drums­compressed­ with­ this­ processor­ will­ never­ sound­ snappy,­ allowing­ for­ a­compression­that­will­sound­more­natural.

Typical Mastering SettingIf­this­is­the­only­compressor­used­in­your­mastering­chain­you­can­start­with­a­setting­like­the­default­one­or­very­similar.­This­will­deliver­from­1­to­2.5­dB­of­compression­with­time­constant­set­at­5.­This­setting­will­glue­all­mix­elements­together­without­having­the­sound­to­appear­compressed.­If­you­want­to­compress­more­just­rise­the­Threshold­controls­and­compensate­the­average­gain­loss­by­incrementing­the­Output­level.

In­stereo­mastering­this­unit­should­be­used­Linked­or­Lat/Vert,­but­some-times­1­-­2­dB­of­“unlinked”­stereo­compression­can­give­a­nice­instability­touch­to­the­stereo­image­that­can­be­very­pleasant.

This­model­has­it's­“own­sound”­when­you­just­insert­it,­even­without­apply-ing­any­compression­(Threshold­at­zero).­So­an­interesting­experiment­we­invite­you­to­do­is­just­to­insert­this­on­the­audio­processing­chain­and­listen­to­the­very­interesting­sonic­change­that­is­applied­by­the­670­internal­cir-cuits­and­components.

7.7.2 Opto Compressor

figure­7.5

Think­of­this­compressor­(figure­7.5)­as­the­purest­analog­modeled­compres-sor­in­the­T-RackS­3­package.­When­you­want­the­sound­of­analog­compres-sion­but­want­to­keep­the­music­original­sonic­texture­with­the­little­possible­coloration,­this­is­the­right­choice.

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You­will­notice­that­no­more­than­a­few­dB­of­compression­are­allowed­at­low­RATIO­values.­For­example­with­a­2:1­ration­you'll­not­be­able­to­com-press­more­than­3­-­4­dB.­This­is­normal­for­this­device­and­it's­because­of­the­optical­device­modeled­in­this­compressor­that­cannot­attenuate­more­than­a­certain­amount.­If­you­need­more­compression­just­rise­RATIO­value.

This­behavior­is­also­very­useful­when­compressing­vocals­because­the­com-pressor­will­follow­vocals­dynamic­but­will­at­the­same­time­avoid­squeezing­the­highest­passages.

7.7.3 Linear Phase Equalizer

figure­7.6

This­is­a­top­class­equalizer­(figure­7.6)­that­can­be­sonically­compared­only­to­the­high­end­digital­equalizers­used­every­day­in­mastering­studios.­It­is­so­ good­ that­ in­most­ cases,­ it­ surpasses­ even­ expensive­ analog­high­ end­equalizers­in­terms­of­purity­and­transparency­of­the­equalization.

Use­this­equalizer­when­you­need­to­apply­EQ­with­the­least­possible­nega-tive­ side­effects­ and­when­you­absolutely­don't­want­ the­any­ side­effects­from­equalization.

We­ suggest­ using­ the­ Linear­ Phase­ Equalizer­ to­ set­ the­ EQ­ you­ want­ to­apply­on­your­audio,­and­then­to­experiment­with­the­Linear­Phase­button­to­ evaluate,­ on­ the­material­ you're­working­ on,­ which­ phase­ response­ is­the­best.­Typically­linear­phase­equalization­is­more­invisible­and­material­processed­with­ this­ technique­ appear­ “less”­ equalized­ than­ conventional­EQ,­so­it­gives­headroom­for­more­pronounced­equalization­before­sounding­overprocessed.

Remember­ that­ LINEAR­ PHASE­ can­ only­ be­ activated­ if­ the­ preference­“Oversampling­+­Linear­Phase”­is­checked.

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7.7.4 Brickwall Limiter

figure­7.7

This­processor­(figure­7.7)­should­normally­be­used­at­the­end­of­the­T-RackS­processing­chain.

It's­main­purpose­is­to­increase­the­volume­by­a­few­dB,­typically­from­1­to­3­with­the­maximum­possible­quality.­You­can­normally­start­with­CLEAN­as­this­is­the­more­neutral­of­all­styles­and­than­experiment­with­the­various­styles­included.

If­you­want­very­high­levels­and­a­more­hard­character­from­the­limiter­when­using­ the­ CLEAN­ style,­ simply­ lower­ the­ RELEASE­ time­ toward­ the­ very­minimum.­This­will­make­the­limiter­work­like­a­clipper,­so­fully­preserving­transient­energy­and­impact,­but­with­less­drastic­effect­on­the­audio.­The­CLEAN­style­with­very­short­ release­ times­ (less­ than­1­ms)­ is­particularly­suitable­for­Pop,­Rock,­Hip­Hop­etc...

Keep­ slightly­ higher­ RELEASE­ times­ (around­ 10­ ms)­ for­ music­ that­ does­not­need­extremely­ intense­ levels.­ Longer­RELEASE­ times,­ say­more­ than­50­ms­are­especially­useful­for­some­“pumping”­effects­that­are­sometimes­desirable.

Then­you­can­start­experimenting­with­the­other­Styles.­ADVANCED­styles­uses­a­“mix”­between­warm­and­smooth­saturation­and­digital­limiting.­They­all­are­punchier­and­more­colorful­ than­CLEAN,­and­ they­can­be­effective­on­certain­material­because­the­actual­limiting­effect­is­less­evident,­at­the­expense­of­some­saturation.­Experiment­with­all­advanced­styles­because­the­right­kind­of­limiting­could­be­a­particular­balance­that­only­one­of­these­styles­provides.

HOW TO AVOID DIGITAL OVERSAlways keep an eye on the RED OVER indicators on the T-RackS 3 peak meters. They should NEVER go RED during the entire song.­ To­avoid­ this­you­can­simply­use­the­Brickwall­Limiter­at­the­end­of­the­chain­and­dial­in­a­Ceiling­value­of­-0.1­dB,­OR­enable­the­D/A­Distortion­Protection­option­in­the­Preferences.

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7.7.5 Vintage Program Equalizer EQ-1A

figure­7.8

This­ is­a­classic­ (figure­7.8).­ It­provides­colorful­equalization­ that­can­give­character­ and­ tonal­ shape­with­ incredible­musicality.­ This­ equalizer­ is­ on­the­opposite­side,­in­terms­of­usage,­than­the­Linear­Phase­EQ.­It's­interven-tion­is­not­spot-on­and­you­should­think­of­it­more­as­a­“tone­control”­than­a­surgical­equalizer.

Remember­that­both­Low­Frequency­and­High­Frequency­BOOST­and­ATTEN­controls­are­not­overlapping,­so­if­you,­for­example,­dial­in­a­low­BOOST­and­ATTEN,­both­at­ 5,­ the­ resulting­ response­will­ not­be­ flat.­ This­ is­ a­ typical­characteristic­of­ this­device,­and­ it's­one­of­ the­ reasons­why­ it­ is­ so­ loved­to­this­day.

The­design­is­based­on­a­passive­EQ­network­followed­by­a­make­up­ampli-fier.­The­passive­EQ­network­gives­a­presence­and­a­ tonal­ shaping­power­that­ is­hard­ to­obtain­with­ conventional­ “pure”­equalizers.­ For­ example­a­very­nice­touch­of­presence­is­given­by­setting­the­High­filter­like­this:

BANDWIDTH:­5•­BOOST:­4­-­5•­HIGH­FREQ:­4­-­5­kHz•­

Like­we­said­for­the­Vintage­Compressor­Model­670,­also­this­model­has­it's­“own­sound”­when­you­just­ insert­ it,­even­without­applying­any­equaliza-tion.­So­another­experiment­we­invite­you­to­do­is­just­inserting­this­on­the­audio­processing­chain­and­listen­to­the­very­interesting­sonic­change.

7.8 Managing Latency

As­previously­explained­T-RackS­3­will­declare­three­different­ latencies­to­the­host­program­when­starting,­or­at­play­/­stop­sequences,­depending­on­what­is­selected­on­the­following­preferences:

Lowest Latency: use this setting when you need T-RackS 3 to have •­the shortest possible latency.­This­setting­is­to­be­used,­for­example,­

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when­you're­using­T-RackS­3­to­process­a­real-time­recording­monitor­mix.­In­this­mode­the­total­T-RackS­3­latency­is­132­samples.

Oversampling: use this setting when you want to use oversampling. •­This­delivers­higher­quality­to­all­T-RackS­3­processors­but­increases­latency­to­1284­samples.

Oversampling + Linear Phase: use this setting when the maximum •­audio quality is needed­ and­ high­ latency­ is­ not­ a­ problem­ (for­example­when­mastering).­The­LINEAR­PHASE­button­on­T-RackS­3­Linear­Phase­Equalizer­will­only­be­working­with­this­setting­ON.­In­this­mode­the­T-RackS­total­latency­is­19684­samples.

IMPORTANT­ NOTE:­ not­ all­ Digital­ Audio­Workstations­ can­ compensate­ a­latency­as­high­as­20,704­samples.­This­is­not­a­problem­in­mastering,­but­you­might­want­to­reduce­the­T-RackS­3­total­latency­from­the­preferences­panel­if­you­need­to­process­tracks­that­must­remain­aligned­to­other­ones­(as­using­T-RackS­in­mixing).­In­this­case­there­should­be­no­problems­since­most­of­the­DAWs­can­compensate­the­first­two­Latency­levels,­128­and­2304­samples­(Lowest­Latency/Oversampling).

The­highest­ latency­ level­ (>­20k­samples)­ is­only­really­needed­when­you­must­ use­ the­ Linear­ Phase­ equalizer,­ and­ this­ is­ typically­ only­ used­ in­Mastering,­where­you­don't­need­latency­to­be­compensated.

7.9 Master your room

When­ mastering­ with­ T-RackS­ you’re­ making­ very­ important­ decisions­about­audio­processing­of­the­overall­balance­of­the­music­you’re­working­on,­ and,­ most­ important,­ you’re­ making­ the­ very­ last­ audio­ intervention­before­public­distribution.­If­you­make­a­bad­decision­at­this­stage­there­will­not­be­the­possibility­to­fix­it­after.

There is another key factor in a correct mastering and mixing process that is often underestimated: your room acoustics.­ Unfortunately­ the­ sonic­signature­of­the­room­can­make­even­the­best­monitors­to­sound­unreliable­because­of­the­aberrations­and­irregularities­the­room­is­creating.

Even­the­most­experienced­engineer­with­the­highest­quality­equipment­can­ruin­a­mix,­or­even­more­easily,­a­master,­because­of­the­unreliability­of­the­listening­ environments.­ There­ are­ factors­ that­ cannot­ be­ compensated­ by­“training”­or­“learning­the­room.”

For­example,­poor­room­acoustics­can­create­very­narrow­peaks­and­dips­in­low-frequency­that­are­very­difficult­to­detect­with­the­naked­ear.­In­fact­bass­notes,­ for­example,­will­never­ sound­consistent,­ even­ if­ they­are­ recorded­evenly,­ so­on­ certain­notes­you’ll­ think­you­have­ too­much­bass,­ on­other­notes­you’ll­find­the­bass­disappearing.

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For­ these­ reasons­ the­ room­ acoustical­ quality­ should­ be­ considered­ as­important­ as­ the­quality­ of­ all­ other­ chain­ links­ in­ your­ audio­production­studio,­from­bedroom­studios­to­high­end­facilities.

In­order­to­improve­sonic­accuracy­of­a­room­you­can­apply­acoustical­treat-ment­ to­ the­walls,­ floor­and­ceiling,­and­ this­can­be­done­up­ to­very­high­quality­ results,­ but­ for­ very­ high­ prices.­ These­ solutions­ typically­ include­treatments­ done­ with­ various­ mixed­ elements,­ absorbers,­ diffusers,­ bass­traps,­floating­floors­and­so­on.

Another­ convenient­ solution­ is­ to­ use­ IK's­ARC System,­ the­ acoustic­ cor-rection­ system­ in­ a­ plug-in.­ In­ developing­ ARC­ System,­ IK­ Multimedia­has­ teamed­up­with­ the­ leading­provider­of­ sound­equalization­solutions,­Audyssey,­for­the­production­of­an­innovative,­low-cost­and­mobile­solution­to­correct­the­distortion­problems­caused­by­room­acoustics.

ARC­System­delivers­the­most­advanced­solution­to­acoustical­problems­for­any­DAW-based­studio.­Combining­a­professionally­calibrated­microphone,­standalone­software­that­captures­sound­information­and­calculates­proper­room­correction,­and­a­multi-platform­plug-in,­this­technology­will­improve­how­your­studio­sounds­forever.

ARC­ System­ features­ the­ revolutionary­ Audyssey­ MultEQ®­ technology,­which­ measures­ acoustical­ information­ throughout­ the­ listening­ area­ in­your­studio.­It­then­combines­this­information­to­provide­an­accurate­repre-sentation­of­the­room’s­acoustical­problems.­The­equalization­solution­then­corrects­for­both­time­and­frequency­response­problems­more­effectively­and­efficiently­than­any­other­room­correction­EQ­on­the­market.­The­result­is­a­clear­and­reliable­representation­of­your­mix.­Regardless­of­the­acoustical­issues­in­your­studio,­what­you­are­recording,­mixing­or­mastering­becomes­immediately­clear­and­reliable­and­your­studio­sound­will­improve­forever.

T-RackS 3 and ARC together form an ideal system, working together to allow the T-RackS 3 user to trust what he or she is hearing, which is truly the most important factor.­For­more­information­on­ARC­System:

www.ikmultimedia.com/arc

ARC­System™­is­a­trademark­property­of­IK­Multimedia­Production­Srl.­Audyssey™,­MultEQ®,­Audyssey­MultEQ®­

are­trademarks­property­of­Audyssey­Laboratories™­Inc.­used­under­license.

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Chapter 8 Troubleshooting

Where can I find my IK product Serial Number?

The­Serial­Number­ is­written­on­ the­Registration­Card­ (included­with­your­ IK­product,­ inside­ the­ license­envelope).­ In­ the­ snapshot,­ please­check­its­exact­location­(figure­8.1).

figure­8.1

1)­Here­you­can­find­your­SERIAL­NUMBER

2)­At­the­bottom­of­the­registration­card­a­legend­helps­you­identify­the­characters­in­your­SERIAL­NUMBER

For­clear­character­identification,­please­analyze­the­legend.

IMPORTANT:­ the­ number­ zero­ can­ easily­ be­ identified­ in­ your­ Serial­Number­because­it­is­crossed­by­a­line.

Why is the Wizard rejecting my Serial Number?

Probably­because­it­found­a­typo,­so­please­analyze­the­common­errors:*Typing­a­0­(“zero”­number)­instead­of­an­O­(“o”­letter)*Typing­1­(“one”­number)­instead­of­an­I­(“i”­letter)*Typing­2­(“two”­number)­instead­of­a­Z­(“z”­letter)*Typing­5­(“five”­number)­instead­of­an­S­(“s”­letter)*Typing­8­(“eight”­number)­instead­of­a­B­(“b”­letter)*Typing­a­“.”­(point)­instead­of­a­“-”­(minus)

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Suggestions:

Whenever­it­is­possible,­please­Copy­and­Paste­the­information.•­Cut­off­all­the­leading­and­trailing­spaces.•­Please­ type­ all­ codes­ UPPERCASE­ during­ the­ Installation­ and­•­Registration­process.Check­that­the­Serial­number­that­you­are­entering­is­in­correlation­•­with­the­product­installed.

During the Product Registration process, I received this message: The Serial Number is already registered...

Remember­that­you­are­able­to­register­your­product­only­once.­So,­if­you­are­ trying­ to­get­a­new­Authorization­Code,­please­go­ to­our­FAQ­page­at­www.ikmultimedia.com/FAQ.php­and­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

Where can I find my Digital ID?

The­ Digital­ ID­ is­ displayed­ in­ the­ Authorization­ window­ of­ your­ IK­product­(figure­8.2).

figure­8.2

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Why is my Digital ID being rejected during the Online Registration process?

There­ is­ probably­ a­ typo­ in­ it.­ Remember­ that­ the­ Digital­ ID­ has­ NO­letter­“I”­and­“O”,­only­the­numbers­“1”­(one)­and­“0”­(zero).­ In­order­to­ prevent­ any­ further­mistakes,­ please­ Copy­ the­ Digital­ ID­ from­ the­Authorization­Form­to­the­Registration­Form.

Where can I find my Serial Number, Digital ID and the Authorization Code of a registered IK Product?

In­ your­ IK­product­ interface,­ locate­ the­Authorization­button­ (the­one­with­a­small­ lock­on­ it)­and­click­on­ it.­ If­your­product­version­has­no­Authorization­button,­log­in­to­the­User­Area,­and­click­Authorizations.­You­ will­ be­ able­ to­ check­ your­ product­ Serial­ Number.­ Then­ click­on­ Request­ New.­ You­ will­ be­ able­ to­ check­ the­ Digital­ ID­ and­ the­Authorization­Code­information.

How can I get a new Authorization Code?

Please­go­to­our­FAQ­page­at­www.ikmultimedia.com/FAQ.phpand­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

I have already registered my product online, but I did not get an Authorization Code.

Usually,­ this­ happens­ because­ the­ Digital­ ID­was­ not­ submitted­ dur-ing­the­registration­process.­In­order­to­get­a­new­Authorization­Code,­please­ go­ to­ our­ FAQ­ page­ at­ www.ikmultimedia.com/FAQ.php­ and­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

I need to log in into the User Area but I forgot my User Name and Password. What should I do?

Please­go­to­www.ikmultimedia.com.­On­the­navigation­bar­click­UserArea.­On­the­top­left,­please­click­on­the­“I­forgot­my­username­and/or­password”­link,­located­below­the­login­button.

I have already installed, registered and authorized my IK product in my main computer. What do I have to do to use my IK product in other computers?

You­need­to­install­the­program­and­get­a­new­Authorization­Code.Please­go­to­our­FAQ­page­at­www.ikmultimedia.com/FAQ.phpand­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

8 - Troubleshooting­­­­­­­­­80

T-RackS®

I just bought an IK product. What should I do to register and authorize my new product?

Visit­our­web­site­www.ikmultimedia.comIn­the­Support­Area,­click­on­the­Product­Registration­link.

In­ the­ Serial­ Number­ field­ of­ the­ Product­ Registration­ Form,­ please­insert­ the­ Serial­ Number­ written­ on­ the­ Registration­ Card­ (included­with­ your­ IK­ boxed­ product,­ inside­ the­ license­ envelope)­ or­ the­ one­that­has­been­delivered­to­you­(e.g.­Online­purchase,­such­as­a­Digital­Delivery,­or­update).

Complete­the­Registration­Form­and­click­Submit.

Regarding­the­Authorization­process,­if­you­already­typed­your­Digital­ID­while­ filling­ in­ the­ Product­Registration­ Form,­ you­will­ receive­ an­e-mail­from­us­with­your­Authorization­Code.­If­not,­after­you­launch­the­program­the­Product­Authorization­Wizard­will­appear.­Please­read­and­follow­the­instructions­provided­in­each­of­the­wizard’s­windows­and­get­an­Authorization­Code.

9 - Support ­­­­­­­­­81

T-RackS®

Chapter 9 Support

For­any­question­you­may­have,­please­refer­to­the­FAQ­webpage:www.ikmultimedia.com/FAQ.php where­you­will­find­answers­to­the­most­common­questions.

To­submit­a­Technical­Support­Form,­go­to:­www.ikmultimedia.com/Support.php

For­other­requests­such­as­Product,­Sales,­or­Web­info,­please­go­to:www.ikmultimedia.com/ContactIKForm.php

9.1 User Area

The­User­Area­ is­a­special­section­of­our­website­specifically­designed­for­our­users’­needs­(figure­9.1).

figure­9.1

Through­the­User­Area,­each­member­of­our­registered­users­will­be­able­to:

Edit­your­Personal­data•­Manage­your­product­Authorization­Codes•­Download­the­latest­product­updates­and­free­content•­Transfer­your­License•­

9 - Support­­­­­­­­­82

T-RackS®

To­access­the­User­Area­go­to:

www.ikmultimedia.com/userarea

or­go­ to­www.ikmultimedia.com­ and­ click­User­Area­ from­ the­navigation­bar.

To­ enter­ the­ User­ Area­ for­ the­ first­ time,­ you­ have­ to­ Log­ in­ with­ the­Username­and­Password­that­you’ve­received­from­us­via­email­after­your­first­IK­product­registration.­If­you­have­already­changed­your­Username­and­Password,­please­use­your­most­current­information­to­Log­in.

T-RackS®­is­a­registered­trademark­property­of­IK­Multimedia­Production.­All­other­product­names­and­ trademarks­are­ the­property­of­ their­ respective­owners,­which­are­ in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­during­IK­Multimedia’s­sound­model­development­and­for­describing­certain­types­of­tones­produced­with­IK­Multimedia’s­digital­modeling­technology.­Use­of­these­names­does­not­ imply­ any­ cooperation­ or­ endorsement.­ Fairchild®­ is­ a­ registered­ trademark­property­ of­ Avid­ Technology,­ Inc.­Mac­ and­ the­Mac­ logo­ are­ trademarks­ of­ Apple­Computer,­ Inc.,­ registered­ in­ the­U.S.­ and­ other­ countries.­Windows­Vista­ and­ the­Windows­logo­are­trademarks­or­registered­trademarks­of­Microsoft­Corporation­in­the­United­States­and/or­other­countries.­Mac­and­the­Mac­ logo­are­trademarks­of­Apple­Computer,­Inc.,­registered­in­the­U.S.­and­other­countries.­Windows­Vista­and­the­Windows­logo­are­trademarks­or­registered­trademarks­of­Microsoft­Corporation­in­the­United­States­and/or­other­countries.­QuickTime­and­the­QuickTime­logo­are­trademarks­ or­ registered­ trademarks­ of­ Apple­ Computer,­ Inc.,­ used­ under­ license­therefrom.­ The­ Audio­ Units­ logo­ is­ a­ trademark­ of­ Apple­ Computer,­ Inc.­ VST­ is­ a­

trademark­of­Steinberg­Media­Technologies­GmbH.www.t-racks.com

IK­Multimedia­Production­Srl,­Via­dell’Industria­46,­411­00,­Modena,­Italy.Phone:­+39-059-285496­-­Fax:­+39-059-2861671­

IK­Multimedia­US­LLC,­11­53­Sawgrass­Corporate­Pkwy.­Sunrise,­FL­323Phone:­(954)­846-9101­-­Fax:­(954)­846-9077

www.ikmultimedia.com

All­specifications­are­subject­to­change­without­further­notice.