- T-Racks 5 Master Match
- T-RackS 5 Custom Shop
- T-Rack 5 – Summary
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First of all, I’m not a mastering expert, so this review is something of an idiot’s guide. After installing the plug-ins I watched all the video clips for T-RackS I could find on YouTube, combining that knowledge with some of the great presets that are available for each plug-in. After some trial and error I made a bit more of an EDM oriented preset that would serve most of my needs, being a little more than just a good starting point.
As is becoming more common in recent years, the software you download is the full version, irrespective of which package you have bought. The serial number is the key here as this only unlocks the functionality and modules that you have actually paid for. So, whether you are downloading the free Custom Shop version or the MAX package, your download and installation will be just under 1GB of data. The reason for this, according to IK, is so that if you want to demo other modules via their Custom Shop application you can have instant access to them without having to download anything additional.
Although this review is based on the ‘Standard’ version of T-Racks 5, there are two other bundles available that function the same, but with increasing numbers of modules. T-Racks 5 Deluxe includes an additional 13 modules and T-Racks 5 MAX an incredible extra 29, bringing their totals to 22 and 38 modules respectively.
ONE is another ‘simple’ solution and is perhaps the one (ahem) addition that could be considered to be forward looking when it comes to how some audio mastering is probably being undertaken. Considering that music tech is relatively affordable to musicians who self-promote and upload finished music to the Internet, be it Soundcloud or iTunes, this module can help make pro sounding masters from project recordings easier to achieve.
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The UI of the workspace has been completely redesigned and on launching the standalone you are greeted with six panels in the main window. Following in the footsteps of Syntronik, T-Racks (great site) 5 can be used in fullscreen and the panels can be resized independently. You can also open separate windows for additional metering facilities and the album assembly functions if required. Not being able to resize the UI was one of the bugbears of previous T-Racks versions (not to mention AmpliTube and SampleTank) and as screen resolutions have increased it has become more difficult to make out on-screen parameters and legending. It’s funny how a small change like this can make software more inviting to dive into.
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The Refresh button will sync with your My Product page of the User Area. Find more information in the IK Product Manager (https://dybdoska.ru/hack/?patch=5715) user manual.
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There are sliders to dictate how strong the spectral and level matching affects your final master and this module always appears as the last in any effects chain. I have my reservations as to the usefulness and effectiveness of processors such as these, but it can give some help to push the overall sonic content of a track towards your own personal recording influences, if that is how you like to work.
T-RackS, with all these extra plug-ins, becomes an unbeatable tool for mastering and mixing purposes. It offers a very clean, well-defined, punchy sound and a full arsenal of plug-ins. Yes, it takes some CPU, but not so much that you can’t use it on your DAW’s output, at least if you have any semi-solid PC or Mac.
On the third rack (go to website) instance is Vintage Equalizer. On the IK Multimedia website they suggest we try it out, and see how it changes the sound even without additional tweaking. I tried it, switching it off and on, and it ended up staying in my rack (https://dybdoska.ru/hack/?patch=5523). I don’t know how it did it, and I don’t even care.
Each slot within the MixBox rack presents 20 automatable parameters to the host DAW. Most individual modules have fewer parameters than this, so you’ll typically see a small number of named controls available for automation, plus a larger number of options labelled ‘Slot 1 Parameter 7’ and the like. This is sensible enough, but attempts to automate MixBox can run up against the limitations of a host application. In Pro Tools, for example, automation that you write is associated with the slot rather than the module. As a test I placed a Filter Phaser module in slot 5 and wrote automation to its Depth control. When I then reordered the modules to place an EQ‑81 in the same slot, the automation lane in Pro Tools was still labelled ‘Filter Phaser Depth’ but the automation was now merrily switching the EQ between Line and Mic modes.
More than 20 years after the launch of T‑Racks, IK have now introduced a third modular environment. This one, as the name suggests, is very much targeted towards mix engineers — but not just in the studio. MixBox is available in all the usual plug‑in formats, but also as a standalone application offering up to eight simultaneous processing chains for use in a live‑sound environment.
An all-in-one module (although it can still be used as part of a chain) ONE takes in a number of basic controls for EQ, compression, bass and harmonic enhancers, stereo width and limiting. With a total of only 9 controls, excepting the reset and bypass switches, this does appear to be a solution for those that need quick mastering.
During the regular sale you can choose between three basic bundles of T-RackS (https://dybdoska.ru/hack/?patch=3692) along with three additional bundles containing mastering plug-ins that are not essential, but they can make a significant difference, putting mastered material on a whole new and very professional level. All these plug-ins can also be bought through the IK Multimedia T-RackS custom shop. T-RackS Classic is for starters, T-RackS Deluxe is a nice solution if you’re on a very limited budget (costing a bit more than your average virtual synthesizer), and T-RackS Grand is a high end, very professional solution containing numerous plug-ins from other plug-in bundles, including the complete T-RackS Multiband Series, along with a few others.
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Signal flows from left to right, and modules can be reordered simply by clicking and dragging. Each instance of MixBox can also accept an external side‑chain input, which can be activated on a per‑module basis where appropriate from the ‘rear panel’. What you don’t get, however, is any internal routing flexibility. There are no virtual patch cables, nor any utility modules such as M‑S matrices, signal splitters, panners and so on. Inter‑module level metering is minimal and MixBox doesn’t report gain reduction to DAW hosts that can display it, such as Pro Tools.
Perhaps this sort of functionality is on the cards for a future version of MixBox, but in the meantime, there’s plenty to like about the existing version, not least the value for money on offer. For the price of two or three pro plug‑ins, you’re getting a very large chunk of the functionality available in both Amplitube and T‑Racks, presented in an extremely friendly, immediate and easy‑to‑use format. It’ll be a very long time before you exhaust the possibilities of all 70 modules, and with the general quality being uniformly high, this isn’t the sort of plug‑in where you’ll end up using only three of them. At under £5$4 per module, and less if you take advantage of the ‘early bird’ price currently available, MixBox offers a lot of processing for your cash.
The 70 processing modules included with MixBox are distributed among 10 categories, labelled Amps, Channel Strip, Delay, Distortion, Dynamics, EQ, Filter, Modulation, Reverb and Saturation. Almost none of them are wholly new; rather, they’re adapted from the modules that are available in T‑Racks, Amplitube and IK’s Sampletank software sample player. In principle, that’s fine with me, as I’m a big fan of IK’s existing plug‑ins, but it should be pointed out that adapting these processors into MixBox form has meant streamlining their feature sets.
The guitar amps and related plug‑ins are as good as you’d expect from a company with IK’s long history in this area. If you’re only an occasional user of amp simulations you might find that MixBox gives you all you ever need, and even if you’re an avid exploiter of virtual guitar technology, it’s bound to bring something new to your setup. Finally, I can’t move on without commending the array of modulation modules. Most are based on classic hardware units such as the Boss CE‑1 or Electro‑Harmonix Small Stone, they cover all the bases, and they sound excellent.
The final two new additions are curious beasts. Neither is particularly ground breaking in their purpose but perhaps indicate that IKM are trying to entice newer (and less experienced) users into the fold.
Setting up a new machine or installing a large collection can require a lot of downloads. The IK Product Manager lets users set a download queue and let it run unsupervised. It can be paused as needed, and even if a connection gets interrupted, it can be resumed right where it left off. In addition, each sound library is now wrapped into one single installer so downloading an entire collection is hugely simplified.
Conceptually and visually, MixBox mimics API’s popular 500‑series hardware format. Its freely resizeable user interface presents a row of either four or eight vertical slots, complete with skeuomorphic details such as cables and mounting holes. These are flanked by global input and output level controls, and it’s also possible to flip the virtual rack around, whereupon the back of each module presents a fader and a solo button. Two further buttons display per‑slot wet/dry faders and preset load/save fields; naturally, it’s also possible to load and save global presets. IK supply a generous collection of presets for both the plug‑in as a whole and for each of its modules.
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You can have up to 15 processors in one chain, either in serial or parallel and there is a handy equal gain function where you can check the difference between your processed and unprocessed signal at the same perceived level. Very useful as our ears can deceive us into thinking that louder is always better. However, none of the modules have a wet/dry mix control for parallel processing internally, which could be seen as a missed opportunity, especially when in use in a DAW.
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The meters show a wide range of information really well and, in particular, the Spectrogram can help greatly in making sure you balance out the frequency content of your track. As it works in real-time any changes, to an EQ for example, show up as you work helping you to visually pick up on any problems, especially useful if you are working with headphones or in un-treated room.
If you find that your high end is too aggressive, just decrease the sixth band a decibel or two. Linear Phase EQ is an essential mastering tool. It also has a Mono/Stereo option, so if you want to go a bit deeper, you can even make some low end cuts in the stereo image and boost the high end in a center. I usually use this combination on other mastering equalizer plug-ins, but find it works just fine even in a normal “Left/Right” jointed combination.
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You can choose to have a bell curve based on a SSL4000 series, along with the low shelf of a Neve 1073 and high shelf from an API 550A if you so desire, all in the same module. Whether this amount of choice is a good thing is always debatable, but it does add something new to an otherwise well-stocked area of processors.
Whether you are working with single songs to get a quick version onto your SoundCloud page or as a more seasoned user compiling an album of material, T-Racks will tick many boxes. The new album assembly page is a definite plus and you can also now include ISRC codes and copy protection, along with the more familiar Track ID, song titles etc. This information can be used to render professional formats such as DDP files, as well as PQ Sheets and WAV cues in a variety of resolutions and sample rates, up to 192kHz/32-bit floating point.
The six main initial panels are (clockwise from top left) preset browser, the module interface, metering, module browser, effects chain/waveform view and clip list. As these can be resized, you can adapt the UI to your workflow, although you cannot re-arrange the position of each one.
Once you have brushed up on the basic principles and workflow of T-Racks it is very easy to use. As always it is useful to keep the PDF manual open while getting used to new software and, although there is some broken English in evidence, the manual is for the most part easy to follow, until you feel confident enough to go it alone.
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Whether the export of DDP files is actually relevant any more due to the decline of CD manufacture is arguable, but these are still important facilities nonetheless. The ease of export is transparent once you have set your chosen destination type and a whole album’s worth of material can be compiled and rendered with little user interaction, which is handy.
Insert slots in your DAW are usually used to host individual effects, but some manufacturers have also developed plug‑ins that are hosts in their own right. Within these environments, the user can arrange multiple modules to form a complete processing chain. As well as leaving the rest of your plug‑in slots free for other effects, this approach permits an entire processing chain to be saved and shared as a single plug‑in preset, and it allows the vendor to implement routing features that might not be possible within the host DAW.
If you’re new to T-Racks and you have bought the ‘Standard’ version of the software, then you have a compliment of nine processors at your disposal. Not only can these modules be used in the standalone software, but they are also installed as individual plugins and so can be used within any DAW that supports 64-bit VST2, VST3, AAX and AU formats. If you are hesitant with regards to the cost of any of the packages, if this is factored in it becomes a different proposition altogether.