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Monday, February 13th, 2012
Introduction
T-RackS 3 is a suite of high-quality digital and analog-modelled VST/AU/RTAS Dynamics and EQ processors, for mixing and mastering. T-RackS can also be used outside of your DAW as a standalone mastering application. Version 3.5.1 is the latest at the time of this review.
T-RackS Standard comes with the 4 ‘classic’ processors and metering suite as individual plugins also available within the T-Racks Shell or standalone.
T-Racks Deluxe has all the same functionality but adds a few more processors for a total of 9 including two analog modelled devices, the Fairchild Limiter and Pultec Tube Equalizer.
Each of the processors are also available for $99 each. The two newest additions to the T-RackS family – Black 76 Limiting Amplifier (modelled after Urei 1176), and White 2A Leveling Amplifier (Modelled after Urei LA2A Tube compressor/limiter), are only available as add-on purchases.
The decision to offer the individual processors was based on user feedback and common use. When T-RackS 3 was first released it was considered a mastering plugin, but users started liking the effects for mixing as well. Splitting up the system outside of the T-RackS Shell has made things much more convenient.
Standard and Deluxe Processors Comparison
| Standard |
Deluxe |
- Classic T-RackS Compressor
- Classic T-RackS Multi-band Limiter
- Classic T-RackS Clipper
- Classic T-RackS Equalizer
|
- Vintage Tube Compressor / Limiter model 670
- Vintage Tube Program Equalizer
- Opto Compressor
- Multi-algorithm Brickwall Llimiter
- Linear Phase Equalizer
- Classic T-RackS Compressor
- Classic T-RackS Multi-band Limiter
- Classic T-RackS Clipper
- Classic T-RackS Equalizer
|
The T-RackS 3 Shell
The Shell contains all the processors – up to 12 can be loaded in any order, series and parallel. You can load and save presets for individual modules or globally. The shell also contains the full metering module with Peak, Perceived loudness, Phase, correlation and frequency spectrum metering. Each of these can be adjusted to suit the user. The Shell contains four buttons to AB(CD) 4 complete effect chains along with a “copy to” button. Lastly, at the top-right the compare button allows you to compare your processing to the volume adjustable source.
Standalone showing signal chain.
Standalone
The standalone version adds several more features to the shell. Below the metering section is the playlist. You can drop in all your files to process, or reference. Changing tracks in the playlist will start a new empty chain with all settings saved for all previous tracks. There is a waveform display so you can trim in, and out points and fades. The waveform display is also where you can use snapshot automation for the processing chain.
The final notable feature in Standalone mode is ARC integration. ARC is a room compensation system sold separately
Basically, running T-RackS 3 outside of the DAW let’s you load any number of stereo audio files, process them and export to new files including sample rate, bit depth conversion with dithering.
One of the benefits of working in standalone mode is the semi-closed system without access to your hundreds of other VST plugins. You can focus on using the excellent tools available in T-RackS.
Mastering with T-RackS Singles
On the other hand, I already have a pretty good mastering workflow and template in REAPER. One of the things I’ve been doing lately is parallel MS compression which pumps up the RMS level, solidifies the centre channel and widens the overall image. I can do this with the parallel chain but I like having my reference tracks, source track, processed track and parallel effects layer out on faders in front of me. This is beyond the ability of T-RackS shell or standalone.
Another trick is to do band-specific upward compression. Kind of like splitting up a multi-band compressor to separate tracks for each range. By using the linear phase EQ (and latency compensation on in the DAW) you avoid the nasty phase shift you’d normally get trying to blend a band-passed signal in with the full-range source.
T-RackS 3 Vintage 670
5 of the 9 processors allow linked stereo, dual mono, and Mid-Side operation which opens up some creative possibilities without the hassle of encoding and decoding manually MS or splitting the tracks to dual mono manually.
All the single plugins could be successfully wrapped and used with Automap and my Nocturn Keyboard. There are probably too many parameters in the EQ’s to use automap but all the dynamics modules work great with some hands-on controls.
One feature I’d really like is a sidechain input for all the compressors, or at least an internal sidechain filter like the Classic Compressor.
T-RackS Mastering Strategy
The chain I usually start with is Linear Phase EQ, Vintage 670 (Fairchild), Vintage Tube EQ, Classic Clipper, Brickwall Limiter.
The Linear EQ is for corrections, 670 is for glue or widening if required, Tube EQ for wide tone shaping. The Clipper and Brickwall Limiter work together to get things loud. I find setting these up first, then jumping back to the corrective EQ to be a good strategy.
Authorization
I’m going to deviate from the review for a second to applaud IK Multimedia for dramatically improving their authorization process. The new Authorization Manager makes online activation very simple now. I’ve heard complaints and fumbled my way through the old method many times and it was confusing. Now, effortless. Thanks IK!
This is Awesome
The effects are easy to use, map well to controllers and sound great.
In the deluxe package you get both clean (opto and classic) compressors, and the colourful Fairchild model. You also get two clean EQ’s (classic and linear) and the vibey vintage Pultec model.
The Clipper module is excellent to push up your master levels but it’s also great in the mix where you don’t want to hear a change dynamics or tone but just want to set a ceiling for the track. Kick and snare is where I’m often using the Clipper, the hard knew can sharpen the attack and make it cut through the mix and soft knee is very transparent.
I don’t often need a linear phase EQ but when I do, I want something good. The T-RackS Linear EQ is great, so much better than the very expensive Waves ones I’ve used.
All the knobs smoothly respond to mousewheel.
T-RackS 3 Linear Phase Equalizer
Needs Improvement
There are a few areas where I see IK could stand to improve T-RackS, small things but I think they’re worth saying.
In the chain view of T-RackS Shell, an easy way to rearrange modules, such as drag & drop, would be nice.
Sidechain inputs (or at least HPF sidechain) for all the compressor modules
Button to open the user guide. There are no tool tips explaining what the various functions do and the manual is actually saved somewhere you won’t find it.
Install the documentation to the IK Multimedia/T-RackS folder in My Documents along with the presets instead of hidden in the Mac library documentation folder.
Adjustable graph scale for EQ modules. 40dB of gain is far more than you’d ever need in mastering. I’d like an option to limit the graph to +/- 6 and 12dB.
The Future of T-RackS
I’m interested to see where IK Multimedia takes T-RackS next. The Black 76 and White 2A compressor/limiters are not devices typically found in mastering but are essential rock mixing tools. I’d like to see more classic hardware like the Distressor, Massive Passive, and if we’re going with mixing tools, a Roland Space Echo and EMT Plate.
I’d also like to see IK’s take on console and tape simulations which yes, are the thing everyone is doing, but certainly essential mixing and mastering tools.
I have no insider info and I don’t want to start any rumours but I would not be surprised to see a couple new additions to T-Racks in 2012.
Mastering with T-RackS Tutorial
Learning T-RackS
Learning T-RackSI only skimmed through the manual but I did watch the great Groove3 tutorial hosted by Michael Costa on mastering with T-Racks, and it’s actually a great general mastering primer. It’s currently on sale for $10. Check that out here: Mastering With T-Racks
Also available is The Official Guide to T-RackS by Bobby Owsinski. If you’re looking to go beyond the manual and want an in-depth, plain english explanation of the effects and WHY you’d use them, check it out: Mixing and Mastering with IK Multimedia T-RackS – The Official Guide
TL;DR
T-Racks 3 Deluxe is an awesome bundle of audio effects for mixing and mastering. At the current promotional price, especially for upgrades, it’s a fantastic deal. The software is a few years old now but still holds up well vs the competition and is still being updated. There is currently a promotion and group buy for T-Racks 3 Deluxe, click here for more details.
Posted in Mastering, Mixing, Plugins, Review, Software, Virtual Effect | 3 Comments »
Wednesday, February 8th, 2012
This month (Feb 2012) IK Multimedia is running a special 60% off on T-RackS 3 Deluxe. It’s just $199 in the online store or from your favorite retailer. [update - $99 upgrade offer for T-RackS 3 Standard users]
Buy and register Deluxe before Feb 29th and you qualify for the group buy to get a T-RackS 3 Single Black 76 or a T-RackS 3 Single White 2A for FREE.
Here’s how it works:
1. Buy T-RackS 3 Deluxe for only $199.99/€149.99* on our online store or your preferred music retailer.
2. As soon as 2,000 registrations are received, you will also be given a FREE T-Racks 3 Single title to choose from Black 76 and White 2A.
Make sure to spread the word so everyone gets a better deal! Building your own mixing and mastering studio has never been easier, but hurry, this promotion ends February 29th, 2012.
Check the Group Buy Counter here.
* All prices exclude taxes.
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Posted in New Product Announcement, Plugins, Software, Virtual Effect | 1 Comment »
Tuesday, January 24th, 2012
In this article I’ll explain how I use Mid-Side processing on stereo sources for practical or creative effects.
Mid-Side?
Two channels of audio can be combined in a way that gives us control over what is the same in each signal, the middle, and what is different, the sides. The middle is where the kick drum, snare, bass, vocals and a lot of other instruments are, the sides have any hard-panned instruments and spatial effects like reverb. It can be pretty interesting to listen to music like this, there can be a lot hidden in the side channel.
MS is also a stereo microphone technique using a cardioid microphone facing the source and a bidirectional mic turned 90 degrees away just picking up ambience. In this situation the two signals would need to be decoded into stereo. The side mic signal is duplicated, polarity inverted and the two side signals are then panned hard left and right. This is not a true stereo mic technique but can sound very nice. The balance of mid and side signals can be adjusted as needed by changing the level of the 3 tracks.
You can manually encode and decode stereo files to MS and use mono plugins to process mid or side individually. A lot more plugins have an MS mode now. Many of the modules in the T-Racks suite allow mid side processing, as does Ozone, a few compressors and equalizers and a distortion also come to mind.
You can do this for subtle or crazy effects, its a fun way to experiment with plugins and get some unique sounds.
Loud and wide
For a recent mastering job I used a Fairchild compressor plugin in MS mode (Lat/Vert) to compress the middle and increase the level of the sides. I did this in parallel so I could blend the effect in easily. I was also using this to get a lot of extra loudness. You can call this parallel MS Compression.
Compare the master without the parallel MS compression, then with, then the parallel compression soloed.
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Parallel Mid-Side Compression with Fairchild
No more messy verb
I had someone ask about clearing up the middle of a mix when using a lot of reverb. Using Mid-Side Compression on the reverb return can work well. Compress the middle more than the sides and increase the side volume if you want more width.
Here is an example of that on some drums. The drums are Steven Slate playing in KONTAKT. The whole kit is sent into Valhalla Room. With the Fairchild after the reverb I’m lowering the middle by 2dB and raising the sides by 2.
Here you can listen to this effect with lots of reverb on the drums.
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An now with MS compression on just the reverb bus.
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There is NO compression on the drums themselves, I’m only compressing the reverb return and widening it.
Wacky effects
Here is an example of what you can do with a stereo loop and any plugin. This is a little more complicated, and only works if there are hard panned sounds. The loop I started out with had a hihat that wasn’t panned very hard, I copied it to a new track, filtered out all the lows, boosted some highs and then panned it hard left. I recorded the combined original and panned track to a new file.
Here is what I’m starting out with
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Now that I had something on the sides I could mess around with Mid Side Processing.
The first thing you have to do is convert Left – Right to Mid and side. I use the free +matrix MS decoder from SoundHack.com. After that I used a delay plugin to add some filtered echoes just to the middle by disabling the right side input.
In the next insert I used a distortion on just the right side. This brought out a lot more of the reverb than was heard in the original loop. Lastly, second MS decoder was used to bring it back to stereo.
Soundhack +matrix MS encoder/decoder
Here is how the loop sounds now with delay in the middle and distortion on the sides.
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Pretty cool right!? I hope you have found these tricks useful.
Posted in Mixing, Techniques, Tutorial | 5 Comments »
Friday, July 22nd, 2011
This guest post comes from Barry Gardner, mastering engineer at SafeandSound online mastering
The 24 bit advantage
These days almost all digital audio workstations have the option to record and operate at 24 bit resolution. In fact it is highly likely that the vast majority of musicians and engineers are already setting their DAW’s up to work at 24 bit. 24 has a number of advantages over operating at 16 bit. I am going to explain a very important advantage which may not be as obvious. It relates to mixing reference levels on your stereo master output bus. Firstly we have to look at record levels because this is where the initial advantages occur. When you record at 24 bit resolution you have a much greater theoretical dynamic range. This means that the noise floor of the recording in the digital realm is much lower than recording at 16 bit. It is theoretically 48 dB lower than at 16 bit. So as a consequence there is no need to record anywhere as hot as when using 16 bit. In fact, a suggested recording level for 24 bit would be to have an average signal level of -18dBFS. You could even have peak signals at this level without detriment to audio fidelity. With peaks at -18dBFS at 24 bit your noise floor is still theoretically 30dB better than that at 16bit. An additional bonus effect is that to obtain peak levels of -18dBFS your mic preamps, compressors and mixer channels will be operating at a lower electrical level which means a cleaner and clearer recording.
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Posted in Commentary; Rants and Jokes, Mixing, Techniques | 4 Comments »
Monday, April 18th, 2011
I wrote this article for the latest Revolution Audio newsletter. Check them out if you’re looking for recording gear in Canada.
Vocal Processing And Mixing Tips
Last time I shared some tips for recording great vocals, now lets get them sitting right with the rest of the track.
Cleanup – Before anything, clean up the vocal tracks. Go through and trim the silence around each phrase. Remove any noise, thumps, clicks, pops and gasps. Fade in or out on each edit.
Pitch Correction – Gentle pitch correction with software like Melodyne is a big part in getting that professional sounding vocal we all strive for in our home studio productions. Be careful with this! Doing it right takes time and practice. Over tuned vocals are about as bad as out of tune vocals (you can hear both on American Idol).
EQ – There are no rules and every voice is different but here are some starting points. A high-pass filter (low cut) can be used to clean up the very lows (below 100Hz). 200-600Hz can be gently boosted or cut depending on the voice to add thickness or compensate for proximity. 1kHz-3kHz is usually where the clarity of the vocals is. Above that is brightness, bite, air but look out for sibilance. How much you can boost here depends on the song.
Compression – When it comes to controlling vocal dynamics, using two compressors doing less individually often yields the most transparent result. Use a compressor with fast attack and high ratio (10:1) working just on the peaks, ignoring everything else. The second compressor is set with a 4:1 ratio, a slower attack and release and threshold set so it is always compressing about 2-4dB.
Reverb – Reverb is an effect you’ll want on a separate channel (aux track in Pro Tools, FX Channel in Cubase) rather than having it right on the vocal track. Use a send to add the reverb to the vocals. The reverb time should be related to the tempo of the song, it can really clutter the mix if it’s not. Hall and Plate are the most common types of reverb for vocals. Shaping the reverb sound with EQ is recommended.
Automation – Automating the volume level of the vocals is absolutely essential to getting the vocal to sit right where you want it throughout the song. Automating the reverb send for the vocal will allow you to have just the right amount at any time. You can also automate effects like chorus and delays for the vocals to keep things interesting through the song.
iZotope Nectar – A great all-in-one tool for vocal processing is iZotope Nectar. Eleven effects in one plugin including EQ, Compression, Auto and Manual Pitch Correction, reverb, delay and more.
Posted in Mixing, Plugins, Techniques, Virtual Effect | 1 Comment »
