T-RackS 3 has high-end DAW mastering and mixing, offering great audio quality with scores of unique features. T-RackS 3 has all the tools you need to create superb, tube-toned or digital-tuned mixes and masters.
Includes 4 T-RackS classic processors:
- Classic T-RackS Compressor - classic tube stereo compressor/leveler designed for mastering.
- Classic T-RackS Multi-band Limiter - multiband master stereo limiter.
- Classic T-RackS Clipper - soft-clipping stage to create warm, saturated mastering effects.
- Classic T-RackS Equalizer - state-of-the-art six band parametric equalizer, modeled on classic top quality analog gear. Classic T-RackS Equalizer can now be used in Stereo or MS modes. They maintain their great original sonic character, and have only been improved upon to line them up with the absolute "no compromise" in sound quality of the T-RackS 3 signal path. Classic T-RackS Equalizer can now be used in Stereo or MS modes.
Modular mastering/mixing solution with 12 processing slots
- Selectable 12-processor slot audio chain, arranged in two rows of 4 slots for parallel processing plus 4 serial final slots.
- Modules can be easily switched on/off with a single click, individually or all at once, at any time for quick a/b on the monitored audio, without having to navigate or scroll around.
- Single module or global chain visualization options
- A "compare" function with volume matching allows comparison between the sound of the processed version and the original, so that you can really judge the sound changes, and not be mislead by a volume increase.
All-platform plug-ins and standalone versions in the same packages
- Plug-ins fully integrate with popular DAWs
- Standalone mode allows for loading multiple audio files, previews them with all-independent settings and processes all of them with a single click
- Standalone mode includes extremely high quality sampling rate conversion to write 44.1 kHz CD files, starting from any sampling rate
- Built-in dithering with various options
- Automation made easy: you can take snapshots within each song and automate processing parameter changes during the song, for example, when passing from verses to choruses, etc, all with a single click
- Non-destructive basic audio editing
High transparency, extremely high quality audio processing throughout the whole signal path
You may think digital processors are transparent in general, and of a quality high enough for audio mastering. That's not always true. Very simple processing like a filter or a dynamic gain change can literally ruin your sound without any possibility of rescue if it’s not performed at the highest possible quality.
T-RackS 3 delivers purity, transparency and fidelity. If you are familiar with the sound of top quality analog and digital hardware equalizers that are used daily in top mastering houses, you'll immediately recognize the quality and purity typical of those units here, and if you're not, you'll experience what high quality equalization means.
Many digital processors use oversampling to achieve better sound. Unfortunately, many of them, under critical listening sessions, can be found to achieve no significantly better (or even slightly worse) results than the regular sampling rate option. This is because the upsampling and downsampling processes are not done at an adequate level of quality, in other words: typically what is improved by running a processor at double sampling frequency is partially compromised by the loss of quality in the upsampling and downsampling process. T-Racks 3’s result is a process that has no side effect at all on the sound: total transparency. So what you hear is exactly the same sound of the processor running at double sampling rate, with no side effects.
Glossary
Stereo mode
This is the conventional way you would apply equalization on a stereo signal, where you would use one EQ channel to process the L side and another EQ channel to process the R side. The two EQ channels may be set identical or not, depending on your needs.
MS mode
This way the stereo signal is encoded to M-S before applying equalization and decoded back to Stereo after the EQ has been applied. M-S means “mid-side” and allows for independent control of the “center” part from the “sides” or “lateral” part of the musical program. So instead of being able to individually work on L and R channels you will be able to process the “center” and “lateral” part of your mix. This can be very useful in many cases, for example where a mix presents a weak vocal intelligibility. In this case, you would apply mid boost to the M-channel only (center) without touching the mid frequency response on the lateral part, where you may have guitars.
Oversampling
Most of today’s digital audio has a sampling rate of 44.1 or 48 kHz. High-resolution digital audio is used sometimes but is still far from being defined as a standard. Unfortunately 44.1 and 48 kHz sampling rates are simply not enough for extremely high quality audio processing, especially for high frequency filtering and equalizers. A technique that can be used is called Oversampling, where the audio signal is resampled at a higher (typically 2x or 4x) sampling rate, sent to the processor and then down-sampled to the original rate. This allows for the processor to deliver better quality because it runs at a higher sampling rate.
Loudness
Characteristic of audio to seem louder or quieter when played, in comparison to other audio.
RMS
Root Mean Square. Shows the “power” of the audio signal over a certain time window, this indication can give better “audio volume” representation than conventional peak meters.
Brickwall Limiter
A digital audio processor where you can set an absolute maximum level that the audio signal is not allowed to exceed at all.
Linear Phase Equalizer
A particular type of audio equalizer (that can only be made with numeric computation, in the digital domain) that only alters the level of certain audio spectrum regions, without affecting the phase response on the intervention range or surrounding frequencies.
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Frequently Asked Questions about Academic/Theological Pricing
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PC
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Mac
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Minimal:
- Pentium 1GHz / Athlon XP 1.33 GHz
- 512 MB of RAM
- Windows XP / Vista or later.
Suggested:
- Pentium 2.4 GHz / Athlon XP 2.4 GHz
- 1 GB of RAM, Windows XP / Vista or later
- Supported Plug-in formats: VST, RTAS.
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Power PC Based Macintosh
Minimal:
- 866 MHz G4 processor
- 512 MB of RAM
- Mac OS X 10.4 or later.
Suggested:
- dual 1.25 GHz G4 or G5 processor
- 1 GB of RAM
- Mac OS X 10.4 or later
- Supported Plug-in formats: AU, VST, RTAS.
Intel Based Macintosh
Minimal:
- 1.5 GHz Intel Core Solo processor
- 512 MB of RAM
- Mac OS X 10.4.4 or later
Suggested:
- 1.66 GHz Intel Core Duo processor
- 1 GB of RAM
- Mac OS X 10.4.4 or later
Supported Plug-in formats: AU, VST, RTAS.
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Audio Editing & Mastering
