T-RackS 3 User Manual
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Transcript of T-RackS 3 User Manual
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®
1
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.
2
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
5
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.
10
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.
12
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.
1 - What is T-RackS 314
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.
1 - What is T-RackS 316
T-RackS®
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.
1 - What is T-RackS 3 17
T-RackS®
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
1 - What is T-RackS 318
T-RackS®
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.
1 - What is T-RackS 3 19
T-RackS®
1 2
3
4
6 5
7
figure1.4
1 - What is T-RackS 320
T-RackS®
2 - Getting started 21
T-RackS®
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
2 - Getting started22
T-RackS®
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
2 - Getting started 23
T-RackS®
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
2 - Getting started24
T-RackS®
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.
2 - Getting started 25
T-RackS®
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
2 - Getting started26
T-RackS®
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).
2 - Getting started 27
T-RackS®
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
2 - Getting started28
T-RackS®
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
2 - Getting started 29
T-RackS®
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.
2 - Getting started30
T-RackS®
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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T-RackS®
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.
2 - Getting started32
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3 - General controls 33
T-RackS®
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
3 - General controls34
T-RackS®
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
3 - General controls 35
T-RackS®
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
3 - General controls36
T-RackS®
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
3 - General controls 37
T-RackS®
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
3 - General controls38
T-RackS®
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
3 - General controls 39
T-RackS®
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
3 - General controls40
T-RackS®
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
3 - General controls 41
T-RackS®
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
3 - General controls42
T-RackS®
4 - T-RackS 3 module processors 43
T-RackS®
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.
4 - T-RackS 3 module processors 44
T-RackS®
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
4 - T-RackS 3 module processors 45
T-RackS®
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.
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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.
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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•
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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.
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