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High-End Mastering & Mixing Suite

1. 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 12 processing slots mastering chain Modular mastering mixing solution with 12 processing slots e Audio chain with 12 new selectable processing slots arranged in two rows of 4 4 slots for parallel processing plus 4 series final slots e Modules can be easily switched on off with a single click singularly or all of them at any time for quick A B of the monitored audio with out need for navigating or scrolling e Single module or global chain visualization options e Compare function allows comparison between the sound of pro cessed version and the original with precise level matching so that you can really judge the sound changes and not be mislead by a volume increase Accurate complete and truly useful Metering T RackS 3 includes a new high quality high precision complete metering section This includes e A precision three scale Peak meter with accurate sample indicators and real digital Over indication e Real Perceived Loudness meter This is an amazingly useful meter that is not included on most software processors you can find It shows the
2. 71 T RackS 72 You will notice that no more than a few dB of compression are allowed at low RATIO values For example with a 2 1 ration you ll not be able to com press more than 3 4 dB This is normal for this device and it s because of the optical device modeled in this compressor that cannot attenuate more than a certain amount If you need more compression just rise RATIO value This behavior is also very useful when compressing vocals because the com pressor will follow vocals dynamic but will at the same time avoid squeezing the highest passages 7 7 3 Linear Phase Equalizer RESET P J ms figure 7 6 This is a top class equalizer figure 7 6 that can be sonically compared only to the high end digital equalizers used every day in mastering studios It is so good that in most cases it surpasses even expensive analog high end equalizers in terms of purity and transparency of the equalization Use this equalizer when you need to apply EQ with the least possible nega tive side effects and when you absolutely don t want the any side effects from equalization We suggest using the Linear Phase Equalizer to set the EQ you want to apply on your audio and then to experiment with the Linear Phase button to evaluate on the material you re working on which phase response is the best Typically linear phase equalization is more invisible and material processed with this technique appear less equalized than conve
3. High End Mastering amp Mixing Suite 9 Dynamics EQ processors full metering plug in and standalone Ss T RackS PLEASE NOTE T RackS is a registered trademark property of IK Multimedia Production All other product names and trademarks are property of their respective owners which are in no way associated or affiliated with IK Multimedia All names of products artists bands and records are used solely for the purpose of identifying the specific products that were studied during IK Multimedia s sound model development and for describing certain types of tones produced with IK Multimedia s digital modeling technology Use of these names do not imply any cooperation or endorsement Fairchild is a trademark property of Avid Technology Inc T RackS I Contents II III IV Chapter 1 1 1 1 2 1 2 1 122 1 2 3 1 2 4 1 2 5 1 2 6 1 3 1 4 1 5 Chapter 2 2 1 2 1 1 212 2 1 3 2 1 4 2 1 5 22 22 1 2 2 2 2 2 3 2 2 4 2 2 5 2 2 6 2 2 7 2 2 8 2 2 9 2 2 10 2 2 11 Chapter 3 3 1 3 2 3 3 3 4 3 4 3 5 T RackS Table of Contents Contents Interface License Agreement T RackS 3 versions What is T RackS 3 Introduction What s new in T RackS 3 9 module processors 12 processing slots mastering chain Accurate complete and truly useful Metering All platform plug ins and standalone versions in the same package High transparency extremely high quality audio processing SCC technology
4. T RackS 3 module processors T RackS compressor has some unique features that make it very flexible but always very musical and creative Controls e SIDECHAIN HPF this control adds a high pass filter to the detector stage of the compressor The detector stage is where the compressor analyzes the incoming signal and determine how gain reduction must be applied This variable high pass filter prevents when turned up that compres sion pumping effect mainly caused by the material s low end content The higher this knob the softer and more inaudible the compression character will be At the minimum or at very low settings the compres sion will be much more aggressive and noticeable Use lower settings when you want to hear the compression effect and use higher values for a gentle compression as you may want in acoustic mixes e ATTACK TIME adjust this control to change the speed of compres sion in the attack phase With higher values transients will pass unaltered through the compressor With lower values the gain reduc tion will respond quicker and transients will be more affected Value range is from 15 ms to 80 ms While adjusting check the release time value above the knob to see the attack time value you re setting e RATIO use this control to define the strength of the compression Lower values give a gentler and less noticeable compression effect more suitable for 2 tracks mixes and acoustic sounds Higher values giv
5. Block diagram Architecture Interface Getting started Using T RackS as a Standalone Starting T RackS in standalone mode Loading and playing files Inserting processors Processing your master T RackS 3 Project Using T RackS as a Plug in Pro Tools Cubase Nuendo Logic Pro Logic Express Digital Performer Live Sonar GarageBand Acid Tracktion Riffworks General controls Double Chain Compare function Presets A B C D settings Preferences Info 11 13 15 13 14 15 15 16 16 17 17 18 18 21 21 21 24 25 26 27 29 29 29 29 29 30 30 30 30 30 31 31 33 33 34 34 36 36 37 T RackS 3 6 3 7 Chapter 4 4 1 4 2 4 3 4 4 4 5 4 6 4 7 4 8 4 9 Chapter 5 5 1 5 4 5 3 5 5 5 6 Chapter 6 6 1 6 2 6 3 Chapter 7 Chapter 8 Chapter 9 9 1 Lock General controls standalone T RackS 3 module processors Vintage Tube Compressor Limiter model 670 Tube Program Equalizer model EQP 1A Opto Compressor Intelligent multi algorithm Brickwall Limiter High precision high definition Linear Phase Equalizer Classic T RackS Compressor Classic T RackS Multi band Limiter Classic T RackS Clipper Classic T RackS Equalizer Metering Peak Meter Perceived Loudness RMS Correlation Spectrum Analyzer Automation Automating parameters Left Pane Right Pane Mastering tips Introduction T RackS 3 chain setup tips Comparing original mixes with the T RackS processed mas
6. go beyond 0 05 dBfs regardless of the Gain level you dial in GAIN REDUCTION METER shows instant by instant the amount of signal that is attenuated by the clipping saturation effect SLOPE the clipping shape of this stage is adjustable It s continuously variable from a straight digital hard clip fully clockwise to ultra soft non clipping mode fully counterclockwise Depending on music styles the clipping can be less noticeable either with softer or harder shapes that s why this control is continuously adjustable Only your ears can detect the optimal clipping shape for the piece of music you re mastering If you are unsure start with a middle value say 3 dB as a starting point SAT when the signal is in the non linear zone saturation the SAT LED lights up OUTPUT this is internally calibrated to ensure that the output of the clipper will never overload This means that regardless the input level of the clipper and the position of the GAIN knob you ll never get samples over OdB out from this module because the internal clip ping has a 0 05 dBfs ceiling This is only valid if the OUTPUT knob is set at 0 dB 4 T RackS 3 module processors T RackS OUTPUT METER shows the peak output level on the same bar for L and R channels Lis on the top and R on the bottom OVER these two LEDs separate for left and right channels light up ONLY when a digital overload at the clipper outputs has occurred In theory they sh
7. higher than 0dB signals as it goes up to 5 dB e 60 0 dB this scale has a zoom at the high portion of the scale so that the upper 8 dB spans over the last half of the scale This is very useful to keep the top of the available headroom under control OVER indicators these two RED light will turn on only when more than 3 consecutive 0 dB full scale samples are present on the audio If possible always avoid having these indicators to turn on during the whole duration of the audio file you re processing You can obtain this by using the Brickwall peak limiter and lowering the Ceiling value to 0 1 or 0 2 dB or by enabling the D A Distortion Protection from preferences 59 T RackS SPECTRUM Peak Meter Phase Analyzer figure 5 6 60 Pop Ballac Brit Indie Trance Acid Jazz Fusion Latin Pop Funk Rock Electronic R amp B Soul Reggaeton Chillout Lounge Hip Hop Rap Blues Punk Perceived Loudness PERCEIMED LOUDNESS 50 40 30 20 figure 5 4 This is a very valuable tool not commonly found in software applications Its main purpose is to give reliable information on the effective sense of loud ness a song or audio in general delivers to the listener It works by combin ing accurate averaging and frequency weighting on the program and can be trusted to deliver accurate information on how loud the song will appear NOTE both Left and Right channels are combined into the same displ
8. mastering resulting in an overcompressed somehow lifeless track A good trick in this case is to insert in parallel with the compressor a non compress ing device or another compressor set to attenuate way less if not at all Use for example slot 1A and 1B for two compressors one set to compress 5 or 6 dB the other set to compress 0 5 dB max 69 T RackS 70 7 7 7 1 1 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 T RackS 3 models tips Vintage Compressor Model 670 figure 7 4 This compressor figure 7 4 is magic You will immediately notice that even with just 1 or 2 dB of compression or even less the music truly shines Full digital recording and mixes will get enormous benefits from the warmth and thickness this unit will deliver There are various ways you can work with this device and get a large range of results from it For example since the modeling of the amplifiers stage in this compressor is very detailed you can experiment with various levels of Input Gain compensating for more or less compression with the Threshold knobs and for higher or lower output level with Output knob Set the input level to 16 in order to get 2 3 dB of compression and rise the Output level to get the level you want This will res
9. Clipper Classic T RackS Equalizer T RackS 3 EQ Classic T RackS Equalizer While consulting this manual please refer to the specific module processors included in the T RackS version you are using 11 T RackS PERCEIVED LOUDNESS 1 I 1 1 50 40 30 2 1 I 1 1 RMS AUDIO FILES ng 1 wav 1 REMOVE figure 1 0 12 AUTO DURATION IN 00 00 00 Th FADE IN 00 05 48 SPECTRUM 50 60 0 2k Sn Sk 10k Ok pan so 100 200 500 tk CORRELATION SETTINGS COPY TO FADE OUT SNAPSHOT 70 _ _ 03 04 25 ON SNAP 3 Snapshot active 3 COPY 01 17 29 DELETE Chapter 1 1 1 1 2 1 What is T RackS 3 T RackS What is T RackS 3 Introduction IK Multimedia pioneered analog modeled mastering with the first all in one software solution the original standalone version of T RackS that became a cult hit for a multitude of studios around the world The new T RackS 3 figure 1 0 raises the bar again in DAW mastering and mixing with a Dynamics amp EQ suite of analog modeled and digital processor plug ins with an audio quality that is unmatched on the software market and scores of new and unique features T RackS 3 processors include high end analog and digital EQs Compressors and Limiters that offer amazing sonic performance with a similar working environment to that of professional mastering stations right on your desk top both as a plug in for all the most popular DAWs or as a sta
10. REAL loudness that will be perceived on your masters Compare your preferred records with your works on this meter and you ll immediately see where to go with loudness management Phase scope with options to match the style and indication you re used to Phase correlation Spectrum Analyzer with Peak RMS and Averaging indicators RMS meter Loudness and RMS metering optimal zones indication selectable by genre and style 15 T RackS 16 1 2 4 All platform plug ins and standalone versions in the same package e Plug ins fully integrate with all of today s popular DAWs e Standalone allows for loading multiple audio files previewing them with independent settings and processing all of them with a single click e Standalone includes extremely high quality sampling rate conversion to write 44 1 kHz CD files starting from any sampling rate e Built in dithering with various options e Automation made easy you can take snapshots on each song and automate processing parameter changes during the song for example when passing from verses to choruses etc all with a single click e Non destructive basic audio editing 1 2 5 High transparency extremely high quality audio processing 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 pro cessing like a filter or a dynamic gain change can literally ruin your sound beyond re
11. When set to OUT they will indicate the audio level at the outputs of the compressor The most important indication is GR default where the amount of compres sion in dB is shown Always use the GR position when dialing in the desired compression amount in with the COMPRESSION knob e OUTPUT sets the compressor output level within a range of 24 dB e BYPASS completely bypasses the opto compressor module e RESET brings the compressor back to its default state where a compression of around 2 dB is happening on moderate level mixes Clicking on this button again will bring your settings back in case you hit reset by mistake e L R the same settings will be applied to L and R compressors The L and R compression will be exactly the same if the LINK button is ON to avoid stereo image shifts e L R click on L or R icons if you want to dial in specific compression setting for Land R channels independently e M S this option uses a Mid Side matrix to insert the stereo com pressor on your processing chain This means that you will be able to compress independently the Center or the Sides of your stereo program The L and R icons will be replaced by M and S when in this mode Click on M to set the compression for the Center Mid of your stereo image or on S to set compression for the Sides 4 4 Intelligent multi algorithm Brickwall Limiter figure 4 4 Brickwall Limiter figure 4 4 that can really make your masters loud with
12. and all related updates supplied by IK Multimedia Not for resale NFR Version means a version of IK Multimedia Product so identified is intended for review and evaluation purposes only 2 LICENSE The IK Multimedia Product is protected by copyright laws and international copyright treaties as well as other intellectual property laws and treaties The IK Multimedia Product is licensed not sold This EULA grants you the rights as specified here below All other actions and means of usage are reserved to the written permission of the right holder IK Multimedia Production Srl Applications Software The IK Multimedia Product may be used only by you You may install and use the IK Multimedia Product or any prior version thereof for the same operating system on up to three 3 computers provided that a each computer is owned by or leased to and under the exclusive control of the licensee b the program s shall NOT be used simultaneously on more than one machine and c any computer s with IK Multimedia software installed shall not be sold rented leased loaned or otherwise be removed from the licensee s possession without first removing uninstalling the licensed software except as provided in Paragraph 4 below pertaining to Software Transfer Storage Network use You may also store or install a copy of the IK Multimedia Product on a storage device such as a network server used only to install
13. any of the available T RackS processors into the 12 slots To load a processor simply click the drop down buttons underneath the avail able slots figure 3 2 The corresponding slot will become the currently selected one When a processor is loaded its abbreviated name will appear in the slot display and the number of the slot will appear in bright yellow with black text when selected figure 3 3 You can select another slot either by clicking directly on its corresponding drop down menu or by clicking on its number on the left of the slots 1 to 4 A B and 5 to 8 figure 3 3 The dark yellow button with white text on the slot number indicates which slot the display corresponds with The small red triangle appearing on the slot number 1 to 4 A B indicates that the slot has been loaded with a proces sor figure 3 4 figure 3 4 3 General controls 33 T RackS figure 3 6 3 2 figure 3 7 figure 3 8 figure 3 9 3 3 figure 3 10 34 Clicking on the slot display will bypass the slot The abbreviated name of the bypassed processor will be dimmed figure 3 5 This is the same operation as bypassing the processor on its own interface with the bypass switch You can display in any moment the entire chain graphically by clicking on the SHOW CHAIN button figure 3 6 This will display the chain in full in the T RackS main interface with graphical icons of every inserted processor Clicking on any of t
14. bands that can be set to all available filter types and that can span the whole spectrum range any kind of overlap is possible Switchable between minimum and linear phase characteristics Stereo or MS operation Controls figure 4 6 GAIN RES 1 6 sets the gain from 15 to 15 dB when the band is set to Peaking or Shelving When the band is set to High or Low pass filters this knob will control the resonance FREQ 1 6 sets the center or cutoff frequency for the band all bands can span from 10 Hz to 20 kHz Q 1 6 sets the bandwidth of the Peaking filters Q ranges from 0 2 to 20 When bands are set to Shelving this knob will set the shape of the shelving filter from gentle to steep and resonant spanning from 0 2 to 3 BAND ON OFF each band can be turned On or Off independently All bands are Off at startup When the band is ON the button is green BAND FILTER TYPE each band can be set to work as a Peaking filter default for bands from 2 to 5 Shelving filters defaults for bands 1 and 6 and high or low pass filers figure 4 6 OUTPUT sets the equalizer output level from 15 to 15 dB OUTPUT METER peak meter for the equalizer output audio signal 4 T RackS 3 module processors T RackS 50 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 LINEAR PHASE can beactivate
15. but this is not an absolute rule by any means 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 RackS allows for a comparison that is not misled by the volume increase that is typical of mastering To do that simply press the COMPARE button and use the ON OFF button to com pare the original mix with the processed version while adjusting lowering 67 T RackS 68 7 4 7 5 the level of the processed one with the small level knob on the right When the comparison is done just click on the COMPARE button again to leave this feature and go back to normal work T RackS 3 remembers the level settings on the compare function so that you ll find it as you saved it for the project 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 is very important to avoid making changes on the audio that are not really needed or even worse that are damaging music So remember during your work to often compare your mastered version with the original mix at the same volume to be really able to evaluate the effects of the processors you used Loudness Nowadays everybody wants to make louder and louder masters T RackS 3 allows for extremely loud clean and de
16. entire mastering chain or by MODULE selected module processor Double Chain this area is used to build the 12 processor mastering chain 8 slots are provided the first 4 available in A B parallel config uration In this area processors can be loaded in the slots bypassed singularly or as an entire chain to allow quick comparison between the original material and the processed one Processor Interface this area shows the selected processor with all its controls Metering section all T RackS meters are conveniently placed in this area and are always visible to keep the most important sonic signal variables under control 5 A B C D settings these buttons allow you to quickly create 4 dif ferent settings for an immediate on the fly check between various T RackS sound configurations Other controls these buttons allow you to manage software autho rization information preferences and automation settings in the plug in Standalone file player editor this area is present only in the stand alone version of T RackS and allows you to load multiple audio files to be processed with T RackS and exported for CD burning or other medium Each file s waveform is visualized on the right and various basic editing features are available such as FADE IN FADE OUT SNAPSHOTS LOOP POINTS 1 What is T RackS 3 T RackS T RackS 3 LIIDUD PERCEIVED LOUDN 1 1 AUDIO FILES figure 1 4 1 What is T
17. from 15 dB to 15 dB HI CUT band ON OFF use this button to turn On and Off the band filter When the filter is active the button is highlighted in yellow HI CUT this knob adjusts the cut off frequency of the lo pass filter Range is from 200 to 18 kHz OUTPUT sets the equalizer output level from 15 to 15 dB CURVE DISPLAY this display shows the resulting equalization curve 4 T RackS 3 module processors T RackS for both channels Individual bands EQ points can be dragged to set Gain and Frequency points without using the equalizer knobs e BYPASS completely bypasses the equalizer e RESET brings the Equalizer back to its default flat state Clicking on this button again will bring your settings back in case you hit reset by mistake e L R linked channels mode Set it this way when you want to control both left and right channels at the same time by applying the exact same equalization to them e L R click on L or R icons when you want to tweak the equalization independently on the Left or Right channels Left channel curve will be displayed in green right channel in white e M S this option uses a Mid Side matrix to insert the equalizers on your processing chain This means that you will be able to equalize independently the Center or the Sides of your stereo program The L and R icons will be replaced by M and S when in this mode Click on M to equalize the Center Mid of your stereo image or on S to e
18. more colorful than CLEAN and they can be effective on certain material because the actual limiting effect is less evident at the expense of some saturation Experiment with all advanced styles because the right kind of limiting could be a particular balance that only one of these styles provides HOW TO AVOID DIGITAL OVERS Always keep an eye on the RED OVER indicators on the T RackS 3 peak meters They should NEVER go RED during the entire song To avoid this you can simply use the Brickwall Limiter at the end of the chain and dial in a Ceiling value of 0 1 dB OR enable the D A Distortion Protection option in the Preferences 73 T RackS 74 7 1 5 7 8 Vintage Program Equalizer EQ 1A E EQUALIZER 2 figure 7 8 This is a classic figure 7 8 It provides colorful equalization that can give character and tonal shape with incredible musicality This equalizer is on the opposite side in terms of usage than the Linear Phase EQ It s interven tion is not spot on and you should think of it more as a tone control than a surgical equalizer Remember that both Low Frequency and High Frequency BOOST and ATTEN controls are not overlapping so if you for example dial in a low BOOST and ATTEN both at 5 the resulting response will not be flat This is a typical characteristic of this device and it s one of the reasons why it is so loved to this day The design is based on a passive EQ network followed by a make up a
19. or run the IK Multimedia Product on your other computers over an internal network however you must acquire and dedicate a distinct license for each user of the IK Multimedia Product from the storage device Any given license for the IK Multimedia Product may not be shared or used concurrently or otherwise on different computers or by different developers in a given organization 3 AUTHORIZATION CODE The IK Multimedia Product only functions when you are in the possession of an authorization code You will receive an authorization code upon complet ing the authorization code request procedure Once your authorization code is activated you may use the product You agree to follow the authorization code request procedure and will provide true accurate and complete information about yourself If you provide any information that is untrue inaccurate not correct or incomplete or IK Multimedia has reasonable grounds to suspect that such information is untrue inaccurate not correct or incomplete IK Multimedia has the right to suspend or to revoke the license The termination of the license shall be without prejudice to any rights whatsoever of IK Multimedia 4 DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS Limitations on Reverse Engineering Decompilation and Disassembly You may not reverse engineer decompile or disassemble the IK Multimedia Product except and only to the extent that such activity is expressly permit
20. reduced You can set the cutoff frequency anywhere from 30 Hz to 200 Hz LOW GAIN use this control to boost or reduce the level of this band The range is from 15 dB to 15 dB LOW MID band on off use this button to turn the filter On and Off When the filter is active the button is highlighted in yellow LOW MID FREQ this knob adjusts the center frequency of the Low Mid peaking filter Range is 33 Hz to 5 4 kHz LOW MID GAIN use this control to boost or reduce the effect of this filter Range is from 15 dB to 15 dB LOW MID Q sets the bandwidth of the peaking filter from 0 2 broad to 20 sharp HI MID band on off use this button to turn the filter On and Off When the filter is active the button is highlighted in yellow HI MID FREQ this knob adjusts the center frequency of the Hi Mid peaking filter Range is from 750 Hz to 17 5 kHz HI MID GAIN use this control to boost or reduce the effect of this fil ter Look at the value below the knob to check the value in dB you re setting The range is from 15 dB to 15 dB HI MID Q sets the bandwidth of the peaking filter from 0 2 broad to 20 sharp HI band ON OFF use this button to turn the filter On and Off When the filter is active the button is highlighted in yellow HI FREQ this knob adjusts the frequency range of the high shelving filter Range is from 200 to 18 kHz HI GAIN use this control to boost or reduce the effect of this filter Its range is
21. that slot by selecting it from the menu Classic Compressor figure 2 12 The abbreviation of the inserted processor will appear in the selected slot and the drop down menu will display the type of processor inserted in the slot ATTACK TIME RELEASE TIME STEREO ENHANCEMENT 3 10 40 figure 2 13 25 T RackS 26 2 1 4 Now the audio will be played through the T RackS processor inserted in the chain To insert more processors you can simply repeat the operation for any of the slots Now you can edit every control of the processors to achieve the desired mastering results checking your results on the T RackS metering section By selecting a different audio file you can insert a totally different chain unless you have unchecked Link T RackS processor to audio file in the Project Properties window In this case the chain you have created will also be applied to the newly selected audio file and all others you work on Within the same audio file you can apply different T RackS settings by using the available scene SNAPSHOTS Processing your master When you are satisfied with the results of your processing you can export your master as an audio file for CD or any other desired music online or multimedia medium according to the settings specified in the Project Settings window To export the desired files simply click on the PROCESS button figure 2 14 figure 2 14 An Audio Process wizard will appea
22. under license 7 Mastering tips T RackS Chapter 8 Troubleshooting Where can I find my IK product Serial Number The Serial Number is written on the Registration Card included with your IK product inside the license envelope In the snapshot please check its exact location figure 8 1 1 Here you can find your SERIAL NUMBER 2 At the bottom of the registration card a legend helps you identify the characters in your SERIAL NUMBER figure 8 1 For clear character identification please analyze the legend IMPORTANT the number zero can easily be identified in your Serial Number because it is crossed by a line Why is the Wizard rejecting my Serial Number Probably because it found a typo so please analyze the common errors Typing a 0 zero number instead of an O o letter Typing 1 one number instead of an I i letter Typing 2 two number instead of a Z z letter Typing 5 five number instead of an S s letter Typing 8 eight number instead of a B b letter Typing a point instead of a minus 8 Troubleshooting 71 T RackS Suggestions e Whenever it is possible please Copy and Paste the information e Cut off all the leading and trailing spaces e Please type all codes UPPERCASE during the Installation and Registration process e Check that the Serial number that you are entering is in correlation wit
23. 2 8 AUDIO FILES DURATION 1 Song 1 waw ESET ee REMOVE figure 2 7 figure 2 8 The audio files will appear on the AUDIO FILES panel in the player editor window interface figure 2 9 with their duration listed beside them AUDIO FILES DURATION IN FADE IN OUT FADE OUT SNAPSHOT 2 00 00 oa SR HH 1 Song 1 wav 03 20 00 00 L 1 00 00 00 03 23 70 3 2103 29 70 LIONI LSNAE i COPY 2 Song 2 wav 03 23 70 figure 2 9 By clicking on the file in the AUDIO FILES panel its waveform will be displayed on the right By clicking the PLAY button the file will start playing and by enabling the LOOP button figure 2 10 the file will be played in a loop figure 2 10 During file play a PLAY CURSOR will be displayed over the waveform with the COUNTER display indicating its position in the file in minutes seconds frames format figure 2 11 The STOP button will stop the file play Both in PLAY or STOP mode you can skip to a different PLAY point simply by clicking on the desired position on the waveform 24 2 Getting started 2 Getting started T RackS figure 2 11 To start mastering your files you will need to insert T RackS processors in the audio chain for the selected file To do this simply click on one of the drop down menu buttons corresponding to the available T RackS chain slots This will display the processors menu where you can choose one of the available processors for
24. AUSE EXCEPT THE ACTUAL COST OF THE PRODUCT IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT 10 CHOICE OF LAW You agree that any and all claims suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Italy in the event IK Multimedia is made a party thereto You agree to submit to the jurisdiction of the court in Modena Italy for all actions whether in contract or in tort arising from your use or purchase of the software 11 GENERAL This Agreement contains the complete agreement between the parties with respect to the subject matter hereof and supersedes all prior or contempora neous agreements or understandings whether oral or written All questions concerning this Agreement shall be directed to IK Multimedia Production Srl Via dellIndustria 46 41100 Modena Italy 2008 IK Multimedia All rights reserved III License Agreement 9 T RackS IV Versions T RackS T RackS 3 versions T RackS 3 comes in 3 different versions e T RackS 3 Deluxe e T RackS 3 Standard e T RackS 3 EQ The difference between each version is in the number of module processors included T RackS 3 Deluxe Linear Phase Equalizer Classic T RackS Compressor Classic T RackS Multi band Limiter Classic T RackS Clipper Classic T RackS Equalizer Classic T RackS Compressor Classic T RackS Multi band Limiter T RackS 3 Standard Classic T RackS
25. D A Distortion Protection Clip output to OdB figure 3 17 e Lowest Latency use this setting when you need T RackS 3 to have the shortest possible latency This setting is to be used for example when you re using T RackS 3 to process a real time recording monitor mix In this mode the total T RackS 3 latency is 132 samples e Oversampling use this setting when you want to use oversampling This delivers higher quality to all T RackS 3 processors but increases latency to 1284 samples 3 General controls figure 3 18 3 General controls T RackS e Oversampling Linear Phase use this setting when the maximum audio guality is needed and high latency is not a problem for example when mastering The LINEAR PHASE button on T RackS 3 Linear Phase Egualizer will only works with this setting ON In this mode the T RackS total latency is 19684 sample D A Distortion Protection when mastering audio material at really hot levels there is a chance that playback devices like CD or MP3 play ers will distort the audio because of overload in their D A conversion and analog stages even if the original digital master is distorted at all These overloads are appearing between samples because of excessive overshoots or just because the D A and analog stages cannot keep up with the required headroom Enable this to allow the T RackS Brickwall Limiter to keep this phenomenon under control and avoid most of these potentially ba
26. HASE button on T RackS 3 Linear Phase Egualizer will only be working with this setting ON In this mode the T RackS total latency is 19684 samples IMPORTANT NOTE not all Digital Audio Workstations can compensate a latency as high as 20 704 samples This is not a problem in mastering but vou might want to reduce the T RackS 3 total latency from the preferences panel if you need to process tracks that must remain aligned to other ones as using T RackS in mixing In this case there should be no problems since most of the DAWs can compensate the first two Latency levels 128 and 2304 samples Lowest Latency Oversampling The highest latency level gt 20k samples is only really needed when you must use the Linear Phase equalizer and this is typically only used in Mastering where you don t need latency to be compensated Master your room When mastering with T RackS you re making very important decisions about audio processing of the overall balance of the music you re working on and most important you re making the very last audio intervention before public distribution If you make a bad decision at this stage there will not be the possibility to fix it after There is another key factor in a correct mastering and mixing process that is often underestimated your room acoustics Unfortunately the sonic signature of the room can make even the best monitors to sound unreliable because of the aberrations and irregularities the room is cre
27. ID has NO letter I and O only the numbers 1 one and 0 zero In order to prevent any further mistakes please Copy the Digital ID from the Authorization Form to the Registration Form Where can I find my Serial Number Digital ID and the Authorization Code of a registered IK Product In your IK product interface locate the Authorization button the one with a small lock on it and click on it If your product version has no Authorization button log in to the User Area and click Authorizations You will be able to check your product Serial Number Then click on Request New You will be able to check the Digital ID and the Authorization Code information How can I get a new Authorization Code Please go to our FAQ page at www ikmultimedia com FAQ php and read the How can I get a new Authorization Code FAQ I have already registered my product online but I did not get an Authorization Code Usually this happens because the Digital ID was not submitted dur ing the registration process In order to get a new Authorization Code please go to our FAQ page at www ikmultimedia com FAQ php and read the How can I get a new Authorization Code FAQ I need to log in into the User Area but I forgot my User Name and Password What should I do Please go to www ikmultimedia com On the navigation bar click User Area On the top left please click on the I forgot my username and or password link loc
28. M system Otherwise Pro Tools will bypass the RTAS plug in as soon as the track is RECORD enabled Cubase Launch Cubase Click on the audio track instrument track or Master bus you wish to add T RackS 3 to In the inspector window on the left click on the dark blue bar that says Inserts or click on the e button beside the track name at the top of the inspector Once the inserts are visible under the insert menu on the Inspector or on the left side of the audio channel editor window click on empty insert Select T RackS to insert it on the selected channel Nuendo Launch Nuendo open a new project then go to Project Add track Audio select vour audio track configuration mono stereo and click OK Click on Inserts to expand the menu and then click on the dark blue area below 11 to see the available plug in list Select T RackS 3 so it opens To open close its interface click on the e button Logic Pro Logic Express Launch Logic Insert T RackS 3 on the desired track or on the Master bus from the mixer window The T RackS plug in interface will automatically open 29 T RackS 30 2 2 5 2 2 6 2 2 7 2 2 8 2 2 9 Digital Performer Launch Digital Performer and create your new session Go to the Mixer View Add T RackS 3 as an insert on your audio track or on the Master bus The T RackS plug in interface will automatically open To take advantage of the
29. RackS 3 SPECTRUM 0 So 100 200 500 tk 2k Sk 10k 20k CORRELATION SETTINGS FADE IN OUT 00 05 48 03 23 70 FADE OUT SNAPSHOT Snapshot active 3 03 04 25 ON SNAP COPY 01 17 29 DELETE 3 19 T RackS 20 1 What is T RackS 3 T RackS Chapter 2 Getting started 2 Getting started 2 1 2 1 1 T RackS 3 can be used in standalone mode or as a plug in Using T RackS as a Standalone MAO 7 i Ti 7 20 50 100 200 5 Kit EOOD io02 A od A 20 OU 200 5200 IN FADE IN OUT FADE OUT SNAPSHOT 00 00 00 00 07 73 03 23 70 XN 03 04 00 JOM SNAP LOAD REMOVE X a y PUG M PROCESS figure 2 1 Starting T RackS in standalone mode In standalone mode figure 2 1 you can launch T RackS 3 from your appli cation folder and use it without the need for a host application In standalone mode T RackS 3 performs as a dedicated mastering process ing station You can load multiple files and apply a different double chain of T RackS processors on each one also applying FADE IN OUT to finalize your productions You can also change any settings of the processing chain during a song with the included SNAPSHOTS function Controls like LOOP POINTS allows for working on selected part of your song for fine tuning to the highest level of details All of this is available directly on the audio file WAVEFORM that is conveniently displayed in T RackS with ZOOM IN OUT Once you are done the PROCESS button all
30. abeled or otherwise identified by IK Multimedia as an upgrade replaces and or supplements the product that formed the ba sis for your eligibility for such upgrade You may use the resulting upgraded product only in accordance with the terms of this EULA If the IK Multimedia Product is an upgrade of a component of a package of software programs that you licensed as a single product the IK Multimedia Product may be used and transferred only as part of that single product package and may not be separated for use on more than one computer 6 DUAL MEDIA SOFTWARE You may receive the IK Multimedia Product in more than one medium You may not loan rent lease or otherwise transfer the other medium to another user except as part of the permanent transfer as provided above of the IK Multimedia Product 7 LIMITED WARRANTY IK Multimedia warrants to the original purchaser of the computer software product for a period of ninety 90 days following the date of original purchase that under normal use the software program and the user documentation are free from defects that will materially interfere with the operation of the program as described in the enclosed user documentation 8 WARRANTY CLAIMS To make a warranty claim under the above limited warranty please return the product to the point of purchase accompanied by proof of purchase your name your return address and a statement of the defect or send the CD s to us at t
31. and click on the pencil icon located to the right and the T RackS interface will open Acid Launch Acid and go to Insert Audio track Then go to Insert again and select Assignable FX double click the VST folder select T RackS 3 and then click on Add Ok The T RackS interface will open 2 Getting started 2 Getting started T RackS 2 2 10 Tracktion 2 2 11 Launch Tracktion open a project and drag the new filter from the top right area to the selected audio track or to the Master bus When the plug ins list appears select T RackS 3 so its interface will open To monitor your guitar click R from your selected track input device left area Riffworks Launch Riffworks Standard and click on the Hardware button located at the bottom of the interface to turn it off Then click on the little AMP down arrow and select T RackS 3 from the other category 31 T RackS 32 2 Getting started T RackS Chapter 3 General controls 3 1 Double Chain figure 3 1 T RackS 3 Double Chain figure 3 1 allows you to insert up to 12 parallel series processors It is a fixed configuration audio chain that starts with 4 4 parallel A B processors slots followed by 4 series processors slots The processors slots are numbered 1 to 4A and B for the two initial parallel lines of the chain while the 4 final series processors slots are numbered 5 to 8 figure 3 2 You can insert
32. ands 4 T RackS 3 module processors T RackS e CROSS OVER POINTS these two knobs set the two frequency split points the low mid split and the mid high split The default positions are fine in general but you can experiment with different settings For example lower the low mid point to say 70 Hz to only limit and tighten up the low end e RELEASE TIME adjust this control to change the speed of limiting in the release phase This is the amount of time the limiter will take to return to normal gain after a peak limiting has occurred While adjust ing check the current Limiter numeric display to see the release time you re setting Value range is from 60 ms to 1 6 seconds e INPUT DRIVE this knob controls the amount of signal that drives the multiband limiter input Unlike the compressor module this one has an exact threshold point where it starts to limit the signal If you drive more signal through the limiter input more peaks will be limited and the sound will be louder If you want to preserve more peaks set this control to a lower value Values range is from 10 dB to 15 dB While adjusting Input Drive check the values in dB by looking at the value above the Drive knob e OVERLOAD this control will affect the way Limiter reduces peaks Setting this knob to a lower value will result in more frequent pure gain reduction by the limiter Setting this knob to a higher value will result in less frequent gain reduction
33. ated below the login button 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 You need to install the program and get a new Authorization Code Please go to our FAQ page at www ikmultimedia com FAQ php and read the How can I get a new Authorization Code FAQ 79 T RackS 80 I just bought an IK product What should I do to register and authorize my new product Visit our web site www ikmultimedia com In the Support Area click on the Product Registration link In the Serial Number field of the Product Registration Form please insert the Serial Number written on the Registration Card included with your IK boxed product inside the license envelope or the one that has been delivered to you e g Online purchase such as a Digital Delivery or update Complete the Registration Form and click Submit Regarding the Authorization process if you already typed your Digital ID while filling in the Product Registration Form you will receive an e mail from us with your Authorization Code If not after you launch the program the Product Authorization Wizard will appear Please read and follow the instructions provided in each of the wizard s windows and get an Authorization Code 8 Troubleshooting T RackS Chapter 9 Support For any question you may have please refer to the FAQ webpage www ikmultimedia com FAQ php wh
34. ating Even the most experienced engineer with the highest guality eguipment can ruin a mix or even more easily a master because of the unreliability of the listening environments There are factors that cannot be compensated by training or learning the room For example poor room acoustics can create very narrow peaks and dips in low freguency that are very difficult to detect with the naked ear In fact bass notes for example will never sound consistent even if they are recorded evenly so on certain notes you ll think you have too much bass on other notes you ll find the bass disappearing 75 T RackS 76 For these reasons the room acoustical quality should be considered as important as the quality of all other chain links in your audio production studio from bedroom studios to high end facilities In order to improve sonic accuracy of a room you can apply acoustical treat ment to the walls floor and ceiling and this can be done up to very high quality results but for very high prices These solutions typically include treatments done with various mixed elements absorbers diffusers bass traps floating floors and so on Another convenient solution is to use IK s ARC System the acoustic cor rection system in a plug in In developing ARC System IK Multimedia has teamed up with the leading provider of sound equalization solutions Audyssey for the production of an innovative low cost and mobile solution
35. available presets The PRESET button will open the Presets Folder letting you manually move group rename and back up your preset files via standard OS window figure 3 11 3 General controls SAVE Save to folder Presets Save with name figure 3 12 SAVE Save to folder Presets Save with name figure 3 14 3 General controls T RackS AmpliTube Metal gt resets 670 Preset tr3p T RackS 3 Brickwall Preset tr3p Classic Cli reset tr3p Classic Co reset tr3p EOPIA Preset tr3p Linear Phase Preset tr3p 7 Mahyem tr3p Master preset tr3p 7 My Master tr3p Opto Preset tr3p gt SEARCH FOR figure 3 11 The SAVE button saves the current T RackS settings as a preset Saving a presets with no previously loaded presets presents the Save window figure 3 12 where you are requested to select a save folder location on your hard disk by default this is the Presets folder and give a name to your preset An Overwrite without asking check box allows you to overwrite presets without being asked to confirm In case you click on the SAVE button preset once you would have already a preset loaded a dialog window will prompt you to confirm you want to save the settings over the currently loaded preset figure 3 13 unless vou have checked Overwrite without asking in the Save Window Are you sure you want to rep
36. ay Loudness Suggested area click on the Settings button figure 5 5 Loudness Suggestion and select the genre which best describes the music you re working on from the menu The colored line on the Perceived Loudness menu figure 5 6 will move This is the area where most commercial production are peaking on their most loud passages The green area indicates where most loud passages should normally peak while red area indicates where most loud passages are peaking in extreme conditions or on very loud masters RMS This is a standard precision RMS meter figure 5 7 that gives valuable information about the power of the audio signal 50 40 30 l L RMS figure 5 7 Typical loud masters are peaking on the RMS meter at 9 even 8 dB but this does not always mean high loudness because the RMS meter is flat in frequency response therefore can be driven very high by programs where there is a very strong low frequency content The usage of the Perceived Loudness Meter together with RMS will give you the best picture NOTE both Left and Right channels are combined into the same display A very good practice is before you start working on your project loading in T RackS 3 some of your preferred reference albums with no processors open of course and check where both Loudness and RMS meters are peaking and how they relate one each other on various songs passages This will give you a very useful reference to correctly
37. but in more frequent clipping Obviously setting this control at higher values will give you more loudness but more clipping across the 0 dB level e GAIN REDUCTION VU this analog VU shows the amount of Gain reduction in dB When limiting does not occur the VU shows 0 dB When limiting is affecting the signal the VU indicates the level of limiting in dB This VU shows the average value of limiting by all three spectral bands e OUTPUT this knob controls the limiter output level e BYPASS this switch allows you to bypass the Limiter module When the LED is lit the Limiter is ON To turn OFF the Limiter module click the switch so that the LED is OFF e RESET brings the limiter back to its default state Clicking on this button again will bring your settings back in case you hit reset by mistake 4 T RackS 3 module processors T RackS 54 4 8 Classic T RackS Clipper figure 4 9 This clipping stage module figure 4 9 is useful every time you need to cut out all the peaks that keep the average level of a signal too low Peak clip ping is very often used in mastering because it s in most cases more trans parent than peak limiting Controls GAIN the Gain control adjusts the pre level of this clipping stage This is the level of the signal injected into the clipper and will deter mine the quantity of saturation applied to the audio TIP leave the OUTPUT now at 0 dB because doing this the clipper limiter will never
38. c OS X Please select your audio interface from the Output Device drop down menu figure 2 4 2 Getting started New Project Open Project Save Project Save Project As figure 2 5 2 Getting started T RackS Audio hardware settings Output device Built in Output HA Left channel Channel 1 Right channel Channel 2 Buffer size 512 H Cancel Ok figure 2 4 Left Right Channel pop up menus are used to route the T RackS 3 stereo output to specific audio outputs on the chosen audio interface Buffer Size menu allows you to change the buffer size of the audio interface These set tings are dependent on the driver of the audio interface itself Project Properties window The Project Properties window File gt Project Properties figure 2 5 2 6 allows you to adjust the T RackS 3 Project output format Wave Aiff Caf Sd2 its resolution and sample rate as well as enabling Dithering The Link T RackS processors to Audio File check box is used to link loaded audio files to chain processors so when multiple files are loaded the chain automati cally switches with them Format Output Resolution Sample Rate Dithering Link T RackS processors to Audio File i Cancel T Ok figure 2 6 23 T RackS 2 1 2 Loading and playing files To load audio files into T RackS 3 standalone simply drag them figure 2 7 over the interface or load them using the LOAD button figure
39. d distortions NOTE this setting has no effect if the Brickwall Limiter module is not used at the end of the audio processing chain e Clip Output to 0 dB use this option to have T RackS 3 to limit at 0 dB the signal at the output of the processing chain by hard clipping If this is unchecked the signal is allowed to go beyond the 0 dB digital level 3 5 Info By clicking on the INFO button figure 3 18 the T RackS info panel will be displayed figure 3 19 You will find the product name its version number and the related copyright notes INFO O TERACKSZ figure 3 19 37 T RackS 3 6 figure 3 20 LOAD REMOVE figure 3 23 38 3 7 Lock If you are running the software in demo mode and you click on the Lock button figure 3 20 the Product Authorization Wizard will appear However if you already registered and authorized your product clicking on the Lock button will show you the product Serial Number Digital ID and Authorization Code figure 3 21 Welcome to the IK Multimedia Product Authorization Wizard Your IK Multimedia product is already authorized and is working with permanent unrestricted functionality Use the following data if you need to refer to your product authorization information Serial Number TRK30 74D6YALN 63863 Digital Id 8EAHDOMH J1CN SXHS EVCT 7W7LVBL2 Authorization Code PASDDMRA RO3T 1KW5 M51G N3U19BNG IK MULTIMEDIA To return to the application click Ca
40. d onlyifthe Oversampling Linear Phase option in preferences is checked CURVE DISPLAY this display shows the resulting equalization curve for both channels Individual bands EQ points can be dragged to set Gain and Frequency points without using the equalizer knobs BYPASS completely bypasses the whole equalizer RESET brings the equalizer back to its default flat state Clicking on this button again will bring your settings back in case you hit reset by mistake L R linked channels mode Set it this way when you want to control both left and right channels at the same time by applying the exact same equalization to them L R click on L or R icons when you want to tweak the equalization independently on the Left or Right channels Left channel curve will be displayed in green right channel in red M S this option uses a Mid Side matrix to insert the equalizers on your processing chain This means that you will be able to equalize independently the Center or the Sides of your stereo program The L and R icons will be replaced by M and S when in this mode Click on M to equalize the Center Mid of your stereo image or on S to equalize the Sides 4 6 Classic T RackS Compressor figure 4 7 The T RackS classic tube compressor figure 4 7 emulates that classic ana log hi end vintage gear used in mastering applications This will give you that big warm sound typical of highly acclaimed hardware devices This 4
41. day e And finally many of the unique sonic characteristics of these magnifi cent vintage units sometimes depended on erratic and unpredictable behavior of their electronics that would be considered unorthodox and unusable by today s science and standards SCC technology has the ability through a new analysis method developed by IK to integrate all of the above and turn it into mathematical algorithm that for the first time is able to take into consideration all of these com plex variables and get an exact clone of the original software emulation evolved to a sound quality never heard before The results are so close to the original units that you will not be able to tell the difference Block diagram Output figure 1 3 17 T RackS 18 1 4 Architecture 1 5 T RackS 3 is set up as an audio processing chain that includes a total of 12 slots in parallel and series configuration When the signal enters the chain it is first converted to the correct project Sampling Rate at the highest possible quality then eventually oversam pled After being processed by the 12 slots chain the signal goes into final down sampling and dithering stages After the final downsampling the signal is then sent to the Metering section Interface T RackS 3 interface figure 1 4 is structured in 7 separate areas 1 Presets this area is used to save and load T RackS presets Presets can be saved loaded as GLOBAL the
42. e a more effective compression effect with at times all the side effects you might expect from a over compression process These effects are sometimes desirable that s why T RackS s compressor ratio control sweeps up to a value of 5 If you are not sure which ratio control value is suitable for your needs start setting this control at 2 3 e RELEASE TIME adjust this control to change the speed of compres sion in the release phase Using higher values the recovery time will be longer and the compression will be less noticeable Using lower values the recovery time will be shorter and the average loudness will be higher Value range is from 70 ms to 1 5 s e INPUT DRIVE this knob controls the amount of signal that drives the compressor s input This is no threshold point leveller so the amount of compression is determined by the strength of input signal Range is from 18 dB to 18 dB e STEREO ENHANCEMENT this control will affect the stereo imaging of your mix Turning it up you will increase the stereo width and vice versa While adjusting this knob check the value you re setting in dB Value range is from 5 to 5 dB where 0 dB has no effect e GAIN REDUCTION VU this analog VU shows the amount of Gain reduction in dB When compression does not occur the VU shows 0 4 T RackS 3 module processors al T RackS 52 dB When compression is affecting the signal the VU indicates the level of compression in dB e OUTPUT th
43. e the analyzer flat showing white noise as an horizontal line Peak makes the analyzer have instantaneous rise time and adjust able fall time To adjust peak mode fall time select one of the three Release values 250 500 or 1000 ms This is the preferred mode when the analyzer is used to get fast feedback to identify freguency areas that are having issues or that you need to follow guickly while music goes RMS similar to peak makes the analyzer to react with an RMS law making it slower and less sensitive to very short peaks Average this is the slower indication this analyzer has and it is very useful to weight the overall balance of audio material The analyzer takes 30 seconds to get to the average and after this time the visu alization will stabilize to a very easy to read display The average will reset when the audio will be stopped or when clicking on the spectrum analyzer display L R L R sets what channels are displayed on the spectrum analyzer L displays only left channel audio R only right L R will display chan nels average FFT points 2k 4k 8k 16k sets the resolution of the analyzer Use high values 8k or 16k if you need high accuracy on the low freguen cies Show Peaks enable this to turn on Peak hold indications on the spectrum analyzer display 5 Metering T RackS Chapter 6 Automation 6 1 Automating parameters T RackS 3 has lots of parameters more than what typically audio sequenc
44. eived Loudness Phase RMS meters and Spectrum Analyzer with Peak RMS and Averaging indication New standalone version with multiple audio file processing waveform display FADE IN FADE OUT controls LOOP auditioning multiple SNAP points for automating audio processing points single multiple file PROCESSING up to 32 bit 192 KHz WAV AIFF files T RackS License Agreement END USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT Please read this document carefully before breaking the seal on the media package This agreement licenses the enclosed software to you and contains warranty and liability disclaimers By breaking the seal on the media envelope you are confirming to have taken notice of terms and conditions of this agreement and you acknowledge your acceptance of the software as well as your acceptance of the terms of this agreement If you do not wish to do so do not break the seal Instead promptly return the entire package including the unopened media package to the dealer from whom you have obtained it for a full refund 1 DEFINITIONS EULA means this end user license agreement IK Multimedia Product means the software program included in the enclosed package and all related updates supplied by IK Multimedia IK Multimedia Product means the software program and hardware if any included in the enclosed package the related documentation models multi media content such as animation sound and graphics
45. ere you will find answers to the most common questions To submit a Technical Support Form go to www ikmultimedia com Support php For other requests such as Product Sales or Web info please go to www ikmultimedia com ContactIKForm php 9 1 User Area The User Area is a special section of our website specifically designed for our users needs figure 9 1 Welcome to the IK New User Area The User Area is a special section of our website specifically designed for our users Here you can easily edit your personal data manage your product authorizations and licenses and download the latest IK products updates Access one of these 4 areas Account Edit your personal data Authorizations Manage your products authorizations X Downloads Download the latest products updates and free content License Transfer Il 5 Transfer your license Ampeg SVX AmpliTube Classik Studio Reverb SampleTank Sonik Synth Philharmonik ARC System SampleMoog StealthPlug T RackS Sonic Refilis IK Sounds GrooveMaker StompIoO IK Multimedia Trademarks License Agreement Privacy 02006 IK Multimedia Production srl Via dell Industria 46 41100 Modena Italy Phone 39 059 285496 Fax 39 059 2861671 VAT number 1T02359550361 Contact IK Multimedia figure 9 1 Through the User Area each member of our registered users will be able to Edit your Personal data e Manage your product Authori
46. ers DAWs can support For this reason T RackS 3 has its own internal Automation Parameter assignment window figure 6 1 that is launched by clicking on the AUTO button figure 6 1 The Automation window includes two panes The Left Pane is called Plug in and the Right Pane is called DAW Automation 6 Automation 63 T RackS 6 2 Left Pane The Left Pane displays T RackS slot and processor module parameters AUTOMATION figure 6 2 On the Left Pane you will be able to select which T RackS parameter you are going to assign to Automation Because of T RackS audio chain each slot is listed separately 1 to 4 A B and 5 to 8 figure 6 2 You can assign any of the T RackS modules in the automation slot as well as every parameter of each module 64 6 Automation 6 Automation T RackS 6 3 Right Pane The Right Pane lists the 16 automation parameters that are declared to the DAW figure 6 2 These parameters names Param 1 to Param 16 are fixed because most DAWs do not support automation parameter name changes while the plug in is open Through the Right Pane you will be able to select which DAW Automation parameter you re going to assign to the T RackS param eter previously selected on the Left pane For example if you selected a the T RackS Classic Compressor Attack Time on the Left pane and then click ADD the Right Pane will display Param 1 Classic Compressor Attack Time figure 6 3 V Classic Co
47. ghlighted in green The precise fade in out time will be displayed over the waveform in the fade in out panel In the panel you can also select the type of fade in out curve by clicking on the curve icons and selecting the one you prefer among linear exponential logarithmic fade in and linear logarithmic fade out figure 3 29 In T RackS 3 standalone you can also use snapshots to apply different set tings of T RackS processors during play To insert a new settings SNAPSHOT simply change one or multiple param eters of your inserted processor chain and than click on the SNAP button A snapshot marker will appear figure 3 30 IN FADE IN OUT FADE OUT Snapshot active 2 COPY 00 02 04 DELETE 00 00 00 00 00 51 00 04 27 N 00 03 41 mw SNAP figure 3 30 By default a SNAPSHOT marker number 1 is always present at the start of the audio file when the file is loaded in the player editor so when you take a snapshot for the first time this will be numbered as 2 The snapshot memorizes and applies the modified settings you have applied to your inserted processor chain You can change the snapshot position by drag ging it over the audio file The active selected snapshot has its number in white on its label its number and time line position are indicated in the SNAPSHOT panel Now if you click on the ON button in the SNAPSHOT panel figure 3 31 and you play the file as soon as the play cursor reaches the inserted snapshot the pr
48. h the product installed During the Product Registration process I received this message The Serial Number is already registered Remember that you are able to register your product only once So if you are trying to get a new Authorization Code please go to our FAQ page at www ikmultimedia com FAQ php and read the How can I get a new Authorization Code FAQ Where can I find my Digital ID The Digital ID is displayed in the Authorization window of your IK product figure 8 2 Product Authorization Wizard On Line Registration Connect to the Internet to receive your Authorization Code You are ready to connect to the Internet to receive your Authorization Code When you click on the Register On Line button a web browser window will open to the IK Multimedia registration page If you are prompted to insert the product Serial Number and Digital Id copy and paste the following information Serial Number TRK30 77ZEZEIX 76312 Digital Id 8EAHDOMH J1CN 5063 6MHK KNSG8DMK Register On Line At the end of the registration process you will receive an Authorization Code that must be inserted in the next step of this wizard When you have received the Authorization Code click Next Cancel GoBack figure 8 2 18 8 Troubleshooting 8 Troubleshooting T RackS Why is my Digital ID being rejected during the Online Registration process There is probably a typo in it Remember that the Digital
49. he desired compression amount with THRESHOLD knobs OUTPUT sets the output level within a 15 dB range BYPASS completely bypasses the whole unit RESET brings the compressor back to its default state where a compression of around 2 dB is happening on moderate level mixes Clicking on this button again will bring your settings back in case you hit reset by mistake 4 2 Tube Program Equalizer model EQP 1A INTAGE EQUALIZER 2 figure 4 2 Based on what is universally known as one of the best and most musical 4 T RackS 3 module processors T RackS program EQs ever made the Pultec EQP 1A Extremely accurate modeling figure 4 2 of a two real world units known to have the sound with sonic performance that is indistinguishable from the originals Stereo or MS operation Controls LOW FREQUENCY sets the frequency intervention point for the low shelving boost and atten filters 20 30 60 or 100 Hz Please note that because the Pultec s original circuit was based on a passive egual ization network the boost and atten filters will not cover the same frequency span and will not cancel one each other if set identically LOW FREQUENCY BOOST applies a low frequencies boost with a shelving shape on the selected frequency range Set it to 0 for no boost 10 for max boost LOW FREQUENCY ATTEN applies a low frequencies attenuation with a shelving shape on the selected frequency range Set it to 0 for no atte
50. he below address within ninety 90 days of purchase Include a copy of the dated purchase receipt your name your return address and a statement of the defect IK Multimedia or its authorized dealer will use reasonable com mercial efforts to repair or replace the product and return it to you postage prepaid or issue to you a credit equal to the purchase price at its option 9 LIMITATIONS ON WARRANTY IK Multimedia warrants only that the program will perform as described in the user documentation No other advertising description or representation whether made by a IK Multimedia dealer distributor agent or employee shall be binding upon IK Multimedia or shall change the terms of this warranty 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 C
51. hen export ing processed Audio Files You can create a new Project from scratch by selecting New Project from File menu figure 2 19 A new Project window will appear allowing you to specify a Project name and set all Project properties figure 2 20 New project Name My Project i Format WAVE HH Resolution bt gy Sample Rate 44 1 kHz HH Dithering Off H v Link T RackS processors to Audio File figure 2 20 To save a copy of the Project with a different name and or to a different location select Save As from File menu figure 2 21 2 Getting started 2 Getting started 2 2 2 2 1 2 2 2 2 2 3 2 2 4 T RackS Using T RackS as a Plug in In addition to being a standalone application T RackS 3 also works as a plug in effect T RackS plug in functions will be exactly the same as the standalone version apart from the file player editor which is available only in standalone mode Please read the following instructions about how to start T RackS in each of the major host applications Pro Tools Launch Pro Tools and create your new session Go to Insert Plug in Other and select T RackS 3 Stereo on a stereo track or on a stereo Master bus TIP if you are using Pro Tools TDM and recording a vocal track while listen ing to T RackS you should insert a TDM plug in like Digidesign s TRIM before T RackS RTAS This will let you hear T RackS RTAS while recording on a TD
52. hese graphical icons will switch to the display of the interface of that processor Compare function The Compare function allows the comparison between the original file and the one processed with the selected T RackS chain or processors Additionally a volume knob is available to set the volume of the processed and unprocessed audio so you can evaluate the two versions by setting the same volume level to prevent you from misjudging your results because of volume differences To activate the compare function click on the COMPARE button figure 3 7 When the COMPARE button is highlighted with the underneath button OFF you will be hearing the non processed original audio and the volume knob will adjust its volume level figure 3 8 When the COMPARE button is highlighted with the underneath button ON you will hear the processed audio and the volume knob will adjust its vol ume level figure 3 9 By switching the ON OFF button once you will compare between the original and the processed audio and you will be able to set the volume of the two at compara ble levels to make effective decision on the mastering settings you have applied Presets You can save the entire T RackS configuration or single module processor settings into presets that you can store edit and recall at will To load a preset in T RackS click on the Preset Display figure 3 10 and choose from the drop down menu or click the Up Down arrows and scroll through the
53. ic performance that is indistinguishable from the originals thanks to IK s DSM and new SCC technology Stereo or MS operation Opto compressor Optical compression has a special sonic character that true audiophiles appreciate nowadays This analog modeled module faithfully recreates that particular and extremely musical movement that characterizes only the best opto compressors An important characteristic of opto compression is the total absence of distortion and coloration during gain reduction and you can expect the same performance from IK s Opto compressor Stereo or MS operation Intelligent multi algorithm Brickwall Limiter Multi algorithm Brickwall Limiter that can really make your masters loud without squashing them to a lifeless sound unless you want that Accurate and transparent digital brickwall limiting can t get any better than this Selectable algorithms to match the best limiting style for each program type High precision high definition Linear Phase Equalizer An accurate high definition high precision EQ that can be trusted for delicate Mastering tasks with 6 completely identical bands that can be set to all available filter types and that can span the whole spectrum range any kind of overlap is possible Switchable between minimum and linear phase characteristics Stereo or MS operation 1 What is T RackS 3 1 2 2 1 2 3 1 What is T RackS 3 T RackS 4 Classic T RackS processors
54. ing with the aim of letting the music shine as much as possible in all its nuances and potentially enhancing the original musical production aims and perspective Furthermore mastering is essential to balance and create a pleasing conti nuity from one track to the next of a CD for example It is extremely important to work with the best possible speakers in a room that sounds good because this is the final stage where you ll have to make decisions on the overall songs balance and it s an extremely delicate pro cess see paragraph 7 9 If you have to process the audio file with other effects like reverbs stereo image corrections phase coherency adjustments spectral enhancers and so on be sure to do this before mastering with T RackS T RackS should always be the last processing pass in the audio production work flow T RackS 3 chain setup tips There are no fundamental rules to be respected in the order to lay down processors on the T RackS 3 chain You can start analyzing the T RackS fac tory presets to discover how typical mastering chains are done and you can start experimenting your own setups later on Something that should always be considered as a rule is placing 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 This will allow you to keep the final level of your master under control Typically equalizers are placed before dynamics
55. is knob controls the compressor output level e BYPASS this switch allows you to bypass the Compressor mod ule When the LED is lit the Compressor is ON To turn OFF the Compressor module click the switch so that the LED is OFF e RESET brings the compressor back to its default state Clicking on this button again will bring your settings back in case you hit reset by mistake 4 7 Classic T RackS Multi band Limiter figure 4 8 This three band peak limiter figure 4 8 can make the mix even louder by reducing unwanted peaks The peak limiting action is made separately on the three bands low mid high You will have a very loud master without clipping though as with any of these processors use care not to over do it Leaving the output knob set to 0 dB means that the limiter output signal can t go beyond 0 05 dBfs Controls e SINGLE BAND LEVEL these 3 knobs set the level volume of the three bands This is very useful to get the correct level of each band after the limiting Use this as a very broad tone control tool on the mix This is a global three band equalizer too e SINGLE BAND THRESHOLD these 3 knobs set the limiting amount over the individual band Lowering the value the threshold will be lower and the limiting more frequent Raising the threshold will make the limiter compress that band less You can check this by look ing at the analog VU on the right this shows the average compres sion of the three b
56. its current state a list of loaded audio files T RackS processing chain settings snapshots fades and other settings into a Project file When you launch T RackS 3 standalone an untitled project is loaded by default You can start to load audio files and tweak the T RackS 3 audio processing chain in this Project To save your Project so that it can be loaded later on select Save Project from File menu figure 2 17 27 T RackS T RackS 3 RS Audio New Project Open Project 360 Save Project S M Save Project As THES Project Properties dP T RackS 3 gi Audio New Project Open Project Save Project Save Project As Project Properties figure 2 19 T RackS 3 MIS Audio New Project Open Project Save Project Save Project As THES Project Properties XC P figure 2 21 28 As you have been working on a default Project you will be asked for a file name and location on your hard drive To continue working on this Project later on select Open Project figure 2 18 and locate the file you previously saved T RackS 3 projects have a trs extension The T RackS 3 default Project has the following properties Output File Format WAVE Output Sampling Rate 44 1 kHz Output Resolution 16 bit Dithering OFF T RackS audio processing chain settings will be linked to the selected Audio File IMPORTANT These are the settings which T RackS 3 will use w
57. l kind of audio mate rial and you ll find very good results This figure 7 2 is a very good starting chain for stereo Mastering with T RackS 3 new processors if you want an extremely transparent and pure processing path figure 7 2 It includes the Linear Phase Equalizer Opto Compressor and Brickwall peak limiter It s a very transparent chain that will add very little coloration and will respect the original nuances and timbral characteristic of the music as much as possible even while giving you all the tools to master the music properly Experimenting with more vintage characterized sounds add thickness and warmth like with this chain figure 7 3 figure 7 3 This includes the Linear Phase Equalizer Vintage Compressor model 670 Vintage Program EQ1A and the Brickwall Limiter at the end that could eventually be replaced by the Classic T RackS Clipper Two Compressors you can use two compressors in the chain if you want to give more consistency to levels without having to push too much one single compressor To do that we suggest you use a Vintage Compressor model 670 with a very slow Time Constant like 3 or 4 applying 2 dB of compression Max followed by an Opto Compressor set to respond very quickly with short attack and release times applying 1 or 2 dB of compression max Parallel Compression you may like the character and musical feel that a compressor can give when it s pushed heavily but it can be too much for
58. lace Classic Compressor Preset figure 3 13 The SAVE AS button works like the SAVE button presenting the Save window with the name ofthe current preset figure 3 14 displaved in the preset name field at the same time giving the option to save the preset to another one with a different name DELETE preset will delete the currently loaded preset while the GLOBAL and MODULE buttons when activated will allow you to save entire T RacKS set tings or settings related to the currently selected processor only 35 T RackS figure 3 16 36 3 4 3 4 A B C D settings The A B C D settings figure 3 15 are 4 different configurations of any of the settings of the entire T RackS chain and processors that can be saved and recalled on the fly while working on the audio figure 3 15 To save and A B C D settings simply click on the COPY TO button The A B C D buttons will start flashing and clicking on any of them will save the current settings in the choosen one You will be able to guickly compare between up to four different configura tions without pausing your audio a function that is particularly useful dur ing fine tuning sonic details Please note that these settings are not stored in the T RackS 3 preset files or DAW session Preferences By clicking on the PREF button figure 3 16 the T RackS preferences window will be displayed figure 3 17 Lowest Latency Oversampling Oversampling Linear Phase
59. mage of the stereo program e LEFT LAT DC Threshold exactly like on the original unit set it fully counterclockwise for maximum softness of the compression knee set it fully clockwise for maximum hardness of the compression knee e RIGHT VERT same as LEFT LAT DC Threshold for Right channel e LEFT LAT TIME CONSTANT sets the compressors release time Positions 1 from 4 are single time constant from quick to slow positions 5 and 6 are dual time constants and are especially useful for mixed stereo material 4 T RackS 3 module processors 1 T RackS 44 RIGHT VERT TIME CONSTANT same as LEFT LAT TIME CONSTANT for right channel LEFT CHANNEL INPUT GAIN sets the compressor input gain on Left channel When no compression is happening set this knob to 10 for unity I O gain RIGHT CHANNEL INPUT GAIN same as LEFT CHANNEL INPUT GAIN for right channel LEFT LAT THRESHOLD sets the amount of compression Fully coun terclockwise means no compression fully clockwise give the maxi mum possible amount of compression for that signal RIGHT VERT THRESHOLD same as LEFT LAT THRESHOLD for right channel IN OUT GR METERS when set to IN the VU meters will indicate the audio level at the inputs of the compressor When set to OUT they will indicate the audio level at the outputs of the compressor The most important indication is GR default where the amount of compres sion in dB is shown Always use the GR position when dialing t
60. mpli fier The passive EQ network gives a presence and a tonal shaping power that is hard to obtain with conventional pure equalizers For example a very nice touch of presence is given by setting the High filter like this e BANDWIDTH 5 e BOOST 4 5 e HIGH FREQ 4 5 kHz Like we said for the Vintage Compressor Model 670 also this model has it s own sound when you just insert it even without applying any equaliza tion So another experiment we invite you to do is just inserting this on the audio processing chain and listen to the very interesting sonic change Managing Latency As previously explained T RackS 3 will declare three different latencies to the host program when starting or at play stop sequences depending on what is selected on the following preferences e Lowest Latency use this setting when you need T RackS 3 to have the shortest possible latency This setting is to be used for example 7 Mastering tips 7 Mastering tips 7 9 T RackS when you re using T RackS 3 to process a real time recording monitor mix In this mode the total T RackS 3 latency is 132 samples e Oversampling use this setting when you want to use oversampling This delivers higher guality to all T RackS 3 processors but increases latency to 1284 samples e Oversampling Linear Phase use this setting when the maximum audio guality is needed and high latency is not a problem for example when mastering The LINEAR P
61. mpressor SideChainHPF ReleaseTime StereoEnhancement Ratio InputDrive Output gt Classic Multiband Limiter gt Classic Clipper b Classic Equalizer gt Brickwall Limiter gt Linear Phase EQ b Opto Compressor gt Vintage Compressor Model 670 gt Vintage Program EQ 14 figure 6 3 You can use the same procedure to assign the remaining automation param eters You can remove single parameter assignment with the REMOVE but ton or remove them all with the REMOVE ALL button You can also swap DAW automation parameters with the MOVE UP MOVE DOWN buttons Clicking OK will save and close the Automation window The automation assignment map will be stored and restored to and from the session you re working on When working with multiple instances of T RackS plug in each T RackS instance is independent from the others and can have different Automation assignments setup This means that saving your DAW session will save each the automation setup for each T RackS instance 65 T RackS 66 6 Automation T RackS Chapter 7 Mastering tips 7 Mastering tips 7 1 Introduction 7 2 7 3 Mastering is the final stage of processing made on a group of stereo mixes before going to press on audio CDs movie soundtracks multimedia sound tracks MP3 files and so on Its purpose is to obtain the maximum possible sound quality from the original mixes by sweetening it with equalization compression and limit
62. ncel Cancel Go Back Finish figure 3 21 General controls standalone When launched in standalone mode T RackS 3 interface will show the audio file player editor at the bottom of the interface figure 3 22 AUDIO FILES DURATION IN FADE IN OUT FADE OUT 00 00 23 S 23 1 Song t wav 03 23 70 00 00 00 00 00 00 03 23 70 103 23 70 2 Song 2 wav 03 23 70 LOAD REMOVE PROCESS figure 3 22 This part of the interface is used to load multiple audio files and process them with T RackS processors with various listening options as well as some useful editing features To load audio files in the standalone application drag them over the interface or click on the LOAD button figure 3 23 The file will appear in the AUDIO FILES browser and its waveform will appear on the waveform display panel To select the audio file to be played simply click on it to select the selected file will be highlighted in yellow To remove an audio file from the browser select it and click on the REMOVE button figure 3 23 3 General controls figure 3 24 figure 3 26 3 General controls T RackS The types of files that can be loaded played and processed from the stand alone version of T RackS are Wav Aiff Caf Sd2 Mp3 Once a file is loaded you can use the transport buttons on the T RackS 3 standalone bottom bar to play stop and activate deactivate the loop play back figure 3 24 A time counter will sho
63. ndalone application Even though T RackS has been designed for mastering its quality plug in units can sound amazing on individual tracks too We suggest using them on critical tracks like lead vocals drums bass acoustic guitars and so on every time you need that pristine warm and open sound T RackS is renowned for What s new in T RackS 3 Modular mastering mixing suite of dynamics and EQ processors including e 9 effects processors comprised of 3 new vintage analog emulations including models based on the Fairchild 670 and the Pultec EQP 1A and 2 new digital processors as well the four classic award winning T RackS processors e New configurable mastering mixing chain runs up to 12 parallel series processors e New complete built in metering section with Peak Perceived Loudness Phase and RMS meters plus Spectrum Analyzer with Peak RMS and Averaging indicators e New high fidelity oversampling with high transparency for extreme ly high quality audio processing throughout the entire signal path e New standalone and plug in versions available in the same package for use in all the most popular native DAWs e New SCC Sonic Character Cloning technology coupled with IK s unique DSM Dynamic Saturation Modeling technology to provide the most realistic software emulation of vintage gear to date e Extremely easy to use with style based presets full chain visualiza tion one click single module or chain bypass com
64. ntional EQ so it gives headroom for more pronounced equalization before sounding overprocessed Remember that LINEAR PHASE can only be activated if the preference Oversampling Linear Phase is checked 7 Mastering tips 7 Mastering tips T RackS 7 7 4 Brickwall Limiter figure 7 7 This processor figure 7 7 should normally be used at the end of the T RackS processing chain It s main purpose is to increase the volume by a few dB typically from 1 to 3 with the maximum possible quality You can normally start with CLEAN as this is the more neutral of all styles and than experiment with the various styles included If you want very high levels and a more hard character from the limiter when using the CLEAN style simply lower the RELEASE time toward the very minimum This will make the limiter work like a clipper so fully preserving transient energy and impact but with less drastic effect on the audio The CLEAN style with very short release times less than 1 ms is particularly suitable for Pop Rock Hip Hop etc Keep slightly higher RELEASE times around 10 ms for music that does not need extremely intense levels Longer RELEASE times say more than 50 ms are especially useful for some pumping effects that are sometimes desirable Then you can start experimenting with the other Styles ADVANCED styles uses a mix between warm and smooth saturation and digital limiting They all are punchier and
65. nuation 10 for max attenuation BANDWIDTH widens clockwise position or narrows counterclock wise position the range of frequencies covered by the high frequency bell curve This control does not affect the sound of the low frequency filter nor the one of the high frequency attenuation HIGH FREQUENCY sets the center frequency of the high frequency bell boost filter 3 4 5 8 10 12 16 kHz The high frequency boost and attenuation filter have independent frequency settings HIGH FREQUENCY BOOST applies high frequency boost with a bell shape centered on the selected frequency Set it to 0 for no boost 10 for max boost HIGH FREQUENCY ATTEN attenuate high frequencies with a shelving shape starting from the selected value on ATTEN SEL Set it to 0 for no attenuation 10 for max attenuation ATTEN SEL sets the frequency intervention point for the high fre quency attenuation filter 5 10 or 20 kHz OUTPUT sets the global equalizer gain from 15 to 15 dB ON OFF completely bypasses the unit when on the OFF position RESET resets the equalizer to its initial flat state L R linked channels mode Set it this way when you want to control both left and right channels at the same time by applying the exact same equalization to them 4 T RackS 3 module processors 2 T RackS 46 L R click on L or R icons when you want to tweak the equalization independently on the Left or Right channels M S this option u
66. ocessor chain will change its settings You can take up to 9 different snapshot settings and apply them any time you want over the time line of 3 General controls Snapshot active 2 00 02 04 DELETE figure 3 33 3 General controls T RackS the audio file A convenient COPY function is available so you can apply pre vious snapshots in other position of the audio file for example to re insert the same snapshot in the various chorus verse parts of your song Simply position the play cursor in the time line position where you want the new snapshot to be placed and click on the COPY pop up menu button which will display the currently taken snapshots Click on the number of the snapshot you want to insert to copy it in the new position figure 3 32 IN FADE IN OUT FADE OUT SNAPSHOT Track snapshot 00 00 00 00 00 49 00 04 27 N 00 03 41 ON SNAP QRS 00 02 56 1 M figure 3 32 To delete snapshots simply click on the DELETE button figure 3 33 in the SNAPSHOT panel after you have selected the snapshot that you want to delete Copied snapshots are always kept the same This is very convenient when you re using for example 3 snapshots 1 for all your verses and two 2 for all your chorus Should you decide to retouch the choruses EQ a single retouch on a single chorus will affect all other ones related to snapshot 2 For this example if you prefer having independent choruses just use individual snapshot
67. ould never turn on Adjust the OUTPUT control to ensure they stay off with as high a level as possible e BYPASS this completely bypasses the Clipper module e RESET brings the Clipper back to its default state Clicking on this button again will bring your settings back in case you hit reset by mistake 4 9 Classic T RackS Equalizer figure 4 10 T RackS Classic Equalizer figure 4 10 consists of a high quality six band parametric EQ specially designed to achieve high end performance in a mastering environment It consists of 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 e LOW CUT band ON OFF use this button to turn On and Off the band filter When the filter is active the button is highlighted in yellow e LOW CUT the knob adjusts this frequency of the high pass filter Sweep range is from 16 Hz to 5 3 kHz e LOW band ON OFF use this button to turn the filter On and Off When the filter is active the button is highlighted in yellow 4 T RackS 3 module processors a T RackS 56 LOW FREQ the knob adjusts the frequency range of low shelving filter All frequencies up to this value will be boosted or
68. out squashing them to a lifeless sound Accurate and transparent digital brick wall limiting doesn t get any better than this Selectable algorithms allow you to match the best limiting style for each program type 4 T RackS 3 module processors a T RackS 48 IMPORTANT This is the processor that should be always used at the end of your T RackS mastering chain because it has special features to keep the final output level of your master under control The D A Distortion Protection option that can be enabled from the Preferences panel does NOT have the proper effect when this module is not used at the end of the processing chain Controls GAIN REDUCTION shows the amount of limiting that is happening in the gain reduction element of the limiter Limiting obtained by saturation or clipping is NOT shown by this meter INPUT sets the input level for the limiter and therefore the volume increase the limiter will give ATTACK TIME sets the limiter attack time Depending on how much limiting you re applying it may be necessary to increase this value to preserve percussive material s sense of impact RELEASE TIME sets the limiter release time The longer the release time the softer the limiter will be Short and very short release times will make the limiter more suitable for rock R amp B pop etc while lon ger release times will make the limiter more suitable for music that is generally mastered quieter like jazz cla
69. ows you to export your entire 21 T RackS figure 2 2 22 album with one click with the highest quality for CD or any other multimedia or online medium Audio Hardware Settings window To work with T RackS 3 in standalone mode you need to properly adjust its hardware settings figure 2 2 that control which audio interface is used by the software for its stereo audio output This window can be launched under the Audio menu in the Menu bar of the standalone Here you will select the audio interface and buffer size that will be used in T RackS 3 Audio Driver T RackS 3 is compatible with any ASIO or DirectX audio interface in Windows and any Core Audio compatible audio interface in Mac OS X Windows T RackS 3 is compatible with ASIO or DirectX compatible audio interfaces on Windows Use drop down Technology and Output Device menus to select your audio interface figure 2 3 Audio hardware settings Technology Asia Output device 4510 Digidesign Driver Left channel Digi002 Analog 1 Right channel Digit Analog 2 figure 2 3 Left Right Channel pop up menus are used to route the T RackS 3 stereo output to specific audio outputs on the chosen audio interface Buffer Size allows you to change the buffer size of the audio interface Click on Panel button to change ASIO settings for your audio interface like buffer size sync option etc Mac OS X T RackS 3 is compatible with Core Audio compatible audio interfaces in Ma
70. pare function multiple audio file processing in standalone mode and much more 13 T RackS figure 1 1 figure 1 2 14 1 2 1 9 module processors 5 New T RackS processors Vintage Tube Compressor Limiter model 670 Based on the Holy Grail of compressors limiters the Fairchild 670 figure 1 1 With a faithful reproduction of every control this is an incredibly accurate model that captures every nuance of one of the best Fairchild units available The original unit delivers a truly magic touch that makes everything that passes through it shine and sound more musical and emotional and was analyzed for months for every single detail to reveal all of its secrets IK s unique analog modeling experi ence and exclusive DSM Dynamic Saturation Modeling technology pushes this model to the limit and beyond so we developed a new cus tom proprietary method dubbed SCC Sonic Character Cloning with results that can only be described as magic It took us a very long time but we believe it was well worth the effort and you ll be the one who will say that this is the only 670 digital recreation that actually treats music like the original Stereo or Lat Vert MS operation Tube Program Equalizer Based on what is universally known as one of the best and most musical program EQs ever made the Pultec EQP 1A figure 1 2 Extremely accu rate modeling of two real world units known to have the sound with son
71. qualize the Sides 4 T RackS 3 module processors T RackS 58 4 T RackS 3 module processors SETTINGS T RackS Chapter 5 Metering 5 1 figure 5 2 Phase gt 4 Analyzer gt Loudness Suggestion gt figure 5 3 5 Metering T RackS 3 includes a new high quality high precision complete metering section This includes e A precision three scale Peak meter with accurate sample indicators and real digital Over indication e Real Perceived Loudness meter Phase scope with options to match the style and indication you re used to Phase correlation Spectrum Analyzer with Peak RMS and Averaging indications RMS meter Loudness and RMS metering optimal zones indication selectable by genre and style Peak Meter ARES L me 0 0 l 90 40 70 60 50 40 30 4 J aa 281 l 188 eu 10 OE Te Te WT ese Se Se AT figure 5 1 This is a precision sample accurate peak meter that shows the instanta neous audio peak level with peak hold and over indication Numerical values for peak hold values are shown at the right of the bar graph The peak meter can work on three scales selectable by clicking on the Settings button figure 5 2 and selecting the Peak Meter section figure 5 3 e 90 0 dB this scale is very wide and is good for general purpose peak level representation e 50 5 dB this scale has reduced range on low levels and can be useful to monitor
72. r is exactly the same sound of the pro cessor running at double sampling rate with no side effects 1 What is T RackS 3 1 2 6 1 3 1 What is T RackS 3 T RackS SCC technology With over 10 years of experience in analog modeled software IK has pio neered this technology and accumulated more experience than any other plug in manufacturer in the field This has resulted in several improvements like our unique DSM Dynamic Saturation Modeling and now the new SCC Sonic Character Cloning SCC has been developed to clone the true behavior of an analog vintage processor down to its finest level of sonic detail for a faithful reproduction of all its tonal characteristics This new emulation technology produces results that are indistinguishable from the originals even for the professionally trained ear e Many pieces of vintage gear tend to have original and interesting circuit topology due to the creative solutions that engineers were sometimes forced to put into place in order to overcome the limita tions of components technology Vintage component technology many components can t be found anymore because their technology became obsolete and uneco nomical as well as their aging some of the best sounding devices are 40 50 years old played fundamental roles in giving these devices a unique musicality that is what the purist would define to be unmatched by even the most advanced processors to
73. r to guide you through exporting your file figure 2 15 First you will be asked to specify if you want to process a single file or all open ones If you selected to process Current File only click on Browse to specify desti nation folder and file name If you selected to process All Open Files click on Browse to specify a destina tion folder Since you re processing multiple files you won t be able to specify a specific file name Instead the original file names will be used with the addition of the postfix you ll add in the Append to filename field figure 2 15 2 Getting started T RackS 3 MS Audio 2 1 5 New Project Open Project Save Project O g Save Project As TES Project Properties CaP figure 2 17 2 Getting started T RackS Audio Process Format WAVE H Process 9 Current File All Open Files Destination Songl wav Browse Append to filename _TrackS Sample bits 16 bit Sample rate 44 1 kHz Dithering Off Cancel figure 2 15 A summary of which audio file format is going to be saved is shown on the same window Clicking on NEXT will start the processing of your files figure 2 16 saving them on your hard disk Audio Process Processing file Songl wav 1 of 1 Process status figure 2 16 Your mastered file will be saved in the desired location ready to be distributed T RackS 3 Project T RackS 3 standalone can save
74. s without copying them If you want to temporarily suspend the snapshots automation just turn them OFF by clicking on the grey ON button figure 3 31 Your previously saved snapshots automation will be restored when you ll enable it again 41 T RackS 42 3 General controls T RackS Chapter 4 T RackS 3 module processors The new T RackS 3 offer up to 9 Dynamics EQ processors comprised of 3 new analog and vintage emulations including models based on the Fairchild 670 and the Pultec EQP 1A and 2 new digital processors as well the four classic award winning T RackS processors 4 1 Vintage Tube Compressor Limiter model 670 figure 4 1 Based on the Holy Grail of compressors limiters the Fairchild 670 With a faithful reproduction of every control figure 4 1 this is an incredibly accurate model that captures every nuance of one of the best Fairchild units available Controls e AGC sets the compressor channels mode Set it to Left Right for unlinked stereo independent channels operation Set it to Link for linked stereo operation both channels will have identical settings except for Input Gain and the same amount of gain reduction will always be applied to both channels to ensure stereo image stability Set it to Lat Vert to have the compressor two channels to work on Mid and Side portions of the Stereo signal With this mode you ll be able to process independently your Center Lat and Sides Vert i
75. scue if they re not performed at the highest possible quality by applying techniques that are not so commonly used T RackS 3 delivers incredible purity transparency and fidelity far superior to the vast majority of plug ins you could compare it with 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 experi ence what high quality equalization means Oversampling perfected 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 upsamplers and downsamplers There are only a few pieces of gear mainly hardware and until now all of them really expensive that have really realized oversampling the way it should be done T RackS 3 is one of them We wanted to offer the same quality of the highest caliber mastering tools and the result is a process that has no side effect at all on the sound total transparency So what you hea
76. ses a Mid Side matrix to insert the equalizers on your processing chain This means that you will be able to equalize independently the Center or the Sides of your stereo program The L and R icons will be replaced by M and S when in this mode Click on M to equalize the Center Mid of your stereo image or on S to equalize the Sides 4 3 Opto Compressor figure 4 3 Optical compression has a special sonic character that true audiophiles appreciate This analog modeled module figure 4 3 faithfully recreates that particular and extremely musical movement that characterizes only the best opto compressors Controls INPUT sets the input level of the compressor from 24 to 24 dB RATIO sets the Ratio of the compressor Use low values for gentle and invisible mastering applications and higher values for more powerful and obvious compression Ratio range is from 1 1 no com pression to 30 1 almost limiting ATTACK sets the compressor attack time from 0 to 50 ms Extremely fast attack values could deliver slight distortion on certain sounds RELEASE sets the compressor release time from 30 ms to 5 seconds COMPRESSION sets the amount of compression that is applied to the signal Fully counterclockwise means no compression fully clockwise means full compression IN OUT GR METERS when set to IN the VU meters will indicate the 4 T RackS 3 module processors T RackS audio level at the inputs of the compressor
77. set the overall level of your masters 5 Metering figure 5 8 figure 5 9 SPECTRUM Analyzer gt J Loudness Suggestion gt figure 5 10 CORRELATION 0 figure 5 11 5 Metering 5 5 5 6 T RackS 5 4 Phase The Phase scope included in T RackS 3 figure 5 8 behaves very closely to those you usually find on high end metering devices or on consoles The fact that it reacts 40 50 times faster than conventional plug in phase scopes gives you much more useful information Left and Right channels samples are shown on a X Y scope so that signals present on a channel only are displayed as 45 degrees tilted lines a mono signal is displayed as a vertical straight line and a completely out of phase signal as an horizontal line Then the stereo master is pushed very high you ll notice a transformation of the picture in a square with sharp edges figure 5 9 Analyzing your preferred albums and reference against this characteristic will help you understanding how much this can be pushed Settings click on Settings figure 5 10 Phase to have access to the Phase Scope settings You can set the Phase Scope to display samples as Dots or Lines and select various levels for the display speed By enabling the Normalize function you ll make the scope display with the same width signals of any level even very low ones default Correlation The phase correlator figure 5 11 is a very simple meter that
78. shows phase correlation between the two Left and Right channels on a scale from 1 to 1 A mono signal will show 1 a completely out of phase signal will show 1 In normal conditions music will continuously move between 1 and 0 Keep in mind that passages that stays between 0 and 1 will be perceived signifi cantly lower when played in mono Spectrum Analyzer This is a 1 6 octave FFT spectrum analyzer that can be configured to give various kind of information figure 5 12 SPECTRUM S00 ik 2k sk 10k 20k figure 5 12 61 T RackS figure 5 13 62 When set to react fast or relatively fast peak or RMS it is very useful to identify portions of the spectrum that need retouching with the equalizers and when set to react slowly Average mode it is very useful to keep the overall balance of the audio you re working on under control Settings click on Settings figure 5 13 Analyzer to have access to the Spectrum analyzer settings 90 0 dB vertical scale of the Spectrum Analyzer goes from 90 to 0 dB wider scale 60 0 dB vertical scale of the Spectrum Analyzer goes from 60 to 0 dB narrower scale Curve Bars sets how the curve is drawn vertical yellow bars figure 5 12 or 1 6 octave segmented curve Tilt value from 0 to 9 dB use this value to set the tilt you prefer when working on the material you re familiar with Higher values will make the curve rise with freguency the 0 dB value will mak
79. ssic fusion etc STYLE sets the style the limiter will use Options are e Clean this is the cleanest and most transparent style useful for genres where the complete absence of distortion is a must e Advanced 1 2 3 4 these styles uses a mix between warm and smooth saturation and digital limiting All offer more punch and color than Clean Sat 1 2 3 these styles use various forms of saturation as limit ing The Gain Reduction meter will not show reduction because the gain reduction element is not working on these styles e Clipping straight digital 0 dBFS clipping no gain reduction shown OUTPUT CEILING sets the top level the audio will never be allowed to exceed Typically set to 0 1 or 0 2 dB If D A Distortion Protection is selected in the Preferences this can be left to 0 dB OUTPUT peak indication of the limiter output audio Level BYPASS completely bypasses the Brickwall limiter RESET brings the limiter back to its default state Clicking on this button again will bring your settings back in case you hit reset by mistake 4 T RackS 3 module processors T RackS L R click on the L or R icons if you want to tweak the limiter s Lor R channels independently 4 5 High precision high definition Linear Phase Equalizer er dim Yaa figure 4 5 An accurate high definition high precision EQ figure 4 5 that can be trusted for delicate Mastering tasks with 6 completely identical
80. stereo capabilities of T RackS open the plug in as Mono to Stereo Live Launch Live and click on one of the audio or virtual instrument tracks in the Mixer Drop Area Notice in the Track View bottom window the text Drop Audio Effects appears Now in the Browser Window window on the left hand side of the screen click the Plug in Browser button it looks like an electric plug Browse to T RackS 3 and click drag it into the Track View Once T RackS loads it will appear as a Device with an XY controller onit To open close the T RackS interface click the edit plug in panel small wrench button at the top of the Device window Sonar Launch Sonar and create your new session Open the Console pressing ALT 3 and locate the audio track or Master bus to which you wish to add T RackS Right click into the FX Insert Area the dark square located in the Audio track s upper area and choose T RackS 3 from the Audio FX sub menu The T RackS plug in interface will then appear GarageBand Launch GarageBand and go to Track New Track Set up this window in the following way click on Real Instrument Monitor On Expand the Details menu and Uncheck the Echo and Reverb effect Select T RackS 3 from the 3rd or 4th effects drop down menu check its left box and click the Create button To open the T RackS plug in interface double click the track the track info window will pop up
81. tailed masters But be aware that music needs to have its own dynamics respected as much as possible and that even if good loud masters are possible there is a limit that should never be exceeded T RackS gives a good hint on these limits with Perceived Loudness and RMS meters but it is fundamental to always remember that only your ears and experience will tell if the level is fine or not Simple mastering chain This is great starting chain figure 7 1 to start with T RackS 3 figure 7 1 It includes the Classic T RackS EQ Classic T RackS Compressor Classic T RackS Limiter and at the end of the chain Classic T RackS Clipper For Rock Pop etc start with 2 dB of compression on the Compressor anoth er 1 2 on the Limiter and maybe gain a few dBs on the clipper as well For a more straight and close to the original sound you can remove the Multiband Limiter from this chain and just use the EQ Compressor and Clipper 7 Mastering tips 7 Mastering tips T RackS 7 6 Advanced mastering chain The new high end processors included in T RackS 3 like Vintage Compressor Model 670 Linear Phase Equalizer Brickwall Limiter Opto Compressor and the EQ 1A Tube Vintage Program EQ allow the highest versatility during mastering Think to these modules as tools in your gear arsenal to be chosen from depending on the music you re working on on your taste etc Feel free to experiment with all combinations of processors on al
82. ted by applicable law notwithstanding this limitation of components The IK Multimedia Product is licensed as a single product Its component parts may not be separated for use on more than one computer Not for Resale Version If the IK Multimedia Product is labeled Not for Resale or NFR or Evaluation Copy then notwithstanding other sections of this EULA you may not sell or otherwise transfer the IK Multimedia Product Rental You may not rent lease or lend the IK Multimedia Product to any party Software Transfer You may not transfer license or sublicense your rights as Licensee of the software or any IK Multimedia product as licensed to you under this agreement without prior written consent of the rights owner The carrier on which the IK Multimedia product has been distributed may be transferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that a the original media 8 III License Agreement T RackS and license s accompany the carrier and b the party transferring the media does not retain a copy of the media 5 UPGRADES If the IK Multimedia Product is labeled or otherwise identified by IK Multimedia as an upgrade you must be properly licensed to use a product identi fied by IK Multimedia as being eligible for the upgrade in order to use the IK Multimedia Product An IK Multimedia Product l
83. ter Inc registered in the U S and other countries Windows Vista and the Windows logo are trademarks or registered trademarks of Microsoft Corporation in the United States and or other countries QuickTime and the QuickTime logo are trademarks or registered trademarks of Apple Computer Inc used under license therefrom The Audio Units logo is a trademark of Apple Computer Inc VST is a trademark of Steinberg Media Technologies GmbH www t racks com IK Multimedia Production Srl Via dellIndustria 46 411 00 Modena Italy Phone 39 059 285496 Fax 39 059 2861671 IK Multimedia US LLC 11 53 Sawgrass Corporate Pkwy Sunrise FL 323 Phone 954 846 9101 Fax 954 846 9077 www ikmultimedia com All specifications are subject to change without further notice orks wi Co ss sta nd G Kk w HG Windows RTA VSI O alone OuickTime Mac Universal Vista REAL TIME AUDIOSUITE Audio Units PJA OLN
84. ter Loudness Simple mastering chain Advanced mastering chain T RackS 3 models tips Vintage Compressor Model 670 Opto Compressor Linear Phase Equalizer Brickwall Limiter Vintage Program Equalizer EQ 1A Managing Latency Master your room Troubleshooting Support User Area I Contents T RackS I Contents 5 T RackS T RackS Interface YE New presets management with GLOBAL chain and SINGLE processor presets 5 new processors in addition to T RackS 4 classic processors for a total of 9 mixing mastering processors NN PERE L OTT 60 48 32 OTT JE Standalone and Plug in in the same package AUDIO FILES Song 1 waw Song 3 wav LOAD O INFO CLASSIC COMPRESSOR PRESET MODULE i BAVE SIDECHAIN HEF ATTACK TIME RELEASE TIME FREE 2 COMPRE 57 l Pee es ee en ee 24 46 8 E z 1 0 1 l I loft pop oot E PREF AUTO FADE IN OUT 00 07 F3 03 23 70 DURATION IN 00 00 00 a REMOVE II Interface ickS 3 TR m Model 5 TR OPTO COMP 670 COMP COMP COMP V COMP YF COMP STEREO HHAMCEMEMT dB SFEL TRU Jt d CORRELATION i 1 ABE OUT SNAPSHOT 03 04 00 JAN SWAP GOPY II Interface SETTINGS T RackS New modular mastering mixing chain with up to 12 parallel series processors one click single global bypass volume adjustable compare function New complete built in metering section with Peak Perc
85. this processor will never sound snappy allowing for a compression that will sound more natural Typical Mastering Setting If this is the only compressor used in your mastering chain you can start with a setting like the default one or very similar This will deliver from 1 to 2 5 dB of compression with time constant set at 5 This setting will glue all mix elements together without having the sound to appear compressed If you want to compress more just rise the Threshold controls and compensate the average gain loss by incrementing the Output level In stereo mastering this unit should be used Linked or Lat Vert but some times 1 2 dB of unlinked stereo compression can give a nice instability touch to the stereo image that can be very pleasant This model has it s own sound when you just insert it even without apply ing any compression Threshold at zero So an interesting experiment we invite you to do is just to insert this on the audio processing chain and listen to the very interesting sonic change that is applied by the 670 internal cir cuits and components Opto Compressor 860 ms TEET A RELEASE 6 1 Vases pa A COMPRESSION figure 7 5 Think of this compressor figure 7 5 as the purest analog modeled compres sor in the T RackS 3 package When you want the sound of analog compres sion but want to keep the music original sonic texture with the little possible coloration this is the right choice
86. to correct the distortion problems caused by room acoustics ARC System delivers the most advanced solution to acoustical problems for any DAW based studio Combining a professionally calibrated microphone standalone software that captures sound information and calculates proper room correction and a multi platform plug in this technology will improve how your studio sounds forever ARC System features the revolutionary Audyssey MultEQ technology which measures acoustical information throughout the listening area in your studio It then combines this information to provide an accurate repre sentation of the room s acoustical problems The equalization solution then corrects for both time and frequency response problems more effectively and efficiently than any other room correction EQ on the market The result is a clear and reliable representation of your mix Regardless of the acoustical issues in your studio what you are recording mixing or mastering becomes immediately clear and reliable and your studio sound will improve forever 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 For more information on ARC System www ikmultimedia com arc ARC System is a trademark property of IK Multimedia Production Srl Audyssey MultEQ Audyssey MultEQ are trademarks property of Audyssey Laboratories Inc used
87. ult in a very transparent compression with a bit of nice coloration but not much Then you can try setting the Input gain at say 4 dB The compression can then be set to get the same 2 3 dB of compression and the Output level again to match the level you need This time because of the higher input drive on the unit the sound will be much more colored with a fabulous thick warm character Mixing single tracks This compressor character is incredibly musical on single mix tracks as well not just on mastering entire mixes just try it on pretty much every type of material Vocals Guitars Bass Piano Strings etc with various time con stants and 5 6 dB of compression If you want to enhance the articulation of a vocal track try compressing 5 dB with time constant 1 The resulting vocal won t sound heavily compressed just more consistent and solid 7 Mastering tips 7 Mastering tips 7 7 2 T RackS Keep DC threshold controls near the minimum when you want the most transparent and invisible compression and move them toward maximum if you want the compressor to be more noticeable and more limiter like Mixing drums On drums this compressor can be used to process a Stereo submix with superb results especially in Lat Vert mode where you will be able by compressing the sides independently from the center to get the sound of the room exactly the way you want Since the attack time is very fast drums compressed with
88. w the current playing position time A yellow PLAY CURSOR figure 3 25 will be moving on the waveform during play You can click anywhere in the waveform to set a different playback position or you can click and roll on the COUNTER display for the same result figure 3 25 You can also zoom the audio file using the buttons of the waveform dis play to precisely select specific points of the audio file The underneath scroll bar will allow to easily scroll your audio file time line figure 3 26 When the LOOP play button is enabled two LOOP POINTS yellow markers will appear on the waveform so you can drag them in your preferred listen ing positions setting the loop points figure 3 27 IN FADE IN OUT FADE OUT SNAPSHOT Track snapshot 00 00 00 7 00 00 00 00 04 27 00 04 27 ON SNAP figure 3 27 39 T RackS Hi FADE IM 00 04 08 a 00 07 14 OUT FADE OUT 00 19 69 X 00 15 74 figure 3 29 SNAPSHOT OM SNAP copy figure 3 31 40 You can apply FADE IN OUT to your file by positioning the green FADE IN OUT markers that appear on the waveform By clicking on the IN and OUT markers you will set the IN OUT points of your fade in fade out and by mov ing the FADE markers of both you will indicate the fade in and out timing figure 3 28 IN FADE IN OUT FADE OUT Track snapshot COPY 00 00 00 00 00 00 00 00 51 00 04 27 00 03 42 ON SNAP 1 figure 3 28 The fade in out areas will be hi
89. zation Codes Download the latest product updates and free content Transfer your License 9 Support 81 T RackS 82 To access the User Area go to www ikmultimedia com userarea or go to www ikmultimedia com and click User Area from the navigation bar To enter the User Area for the first time you have to Log in with the Username and Password that you ve received from us via email after your first IK product registration If you have already changed your Username and Password please use your most current information to Log in 9 Support T RackS is a registered trademark property of IK Multimedia Production All other product names and trademarks are the property of their respective owners which are in no way associated or affiliated with IK Multimedia Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedia s sound model development and for describing certain types of tones produced with IK Multimedia s digital modeling technology Use of these names does not imply any cooperation or endorsement Fairchild is a registered trademark property of Avid Technology Inc Mac and the Mac logo are trademarks of Apple Computer Inc registered in the U S and other countries Windows Vista and the Windows logo are trademarks or registered trademarks of Microsoft Corporation in the United States and or other countries Mac and the Mac logo are trademarks of Apple Compu

High-End Mastering & Mixing Suite

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High-End Mastering &amp; Mixing Suite

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High-End Mastering & Mixing Suite