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Mixing and mastering with ik multimedia t-racks pdf

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In addition to our huge in-the-box Mastering feature, we present several In this first instalment we look at IK Multimedia's versatile T-RackS. October 31, - IK Multimedia is proud to announce T-RackS 5, the cutting- edge mixing and mastering system for Mac® and PC, is available now. T-RackS 5. T-Racks 5- Mixing and mastering workstation with 9 processors.


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T-RackS® is a registered trademark property of IK Multimedia Production. All other product names and trademarks are property of their respective owners, which. Print Friendly, PDF & Email All these plug-ins can also be bought through the IK Multimedia T-RackS custom shop. if you have some knowledge of mixing and remember a tip or two about mastering (the green area where most of us are) . Mixing And Mastering With IK Multimedia T-RackS: The Official Guide reveals: An easy to understand overview of the T-RackS modules; How to mix using T-.

Following is a description of all available modules. As an example. Italy for all actions. A good trick in this case is to insert in parallel with the compressor a non compressing device or another compressor set to attenuate way less. If you have to process the audio file with other effects like reverbs.

Set it to 0 for no boost.

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Set it to 0 for no attenuation. Extremely accurate modeling figure 4. The high frequency boost and attenuation filter have independent frequency settings. Stereo or MS operation. This means that you will be able to equalize independently the Center or the Sides of your stereo program.

Set it this way when you want to control both left and right channels at the same time. Click on M to equalize the Center Mid of your stereo image. The L and R icons will be replaced by M and S when in this mode.

Ratio range is from 1: This means that you will be able to compress independently the Center or the Sides of your stereo program. Extremely fast attack values could deliver slight distortion on certain sounds.

This analog-modeled module figure 4. Click on M to set the compression for the Center Mid of your stereo image. Opto Compressor figure 4. Use low values for gentle and invisible mastering applications and higher values for more powerful and obvious compression. Short and very short release times will make the limiter more suitable for rock.

Limiting obtained by saturation or clipping is NOT shown by this meter. Accurate and transpar- ent. Selectable algorithms allow you to match the best limiting style for each program type.

Options are: The longer the release time the softer the limiter will be. The Gain Reduction meter will not show reduction because the gain reduction element is not working on these styles.

Typically set to When the band is set to High or Low pass filters this knob will control the resonance. Switchable between minimum and linear phase characteristics. Q ranges from 0. Shelving filters defaults for bands 1 and 6 and high or low pass filers figure 4. When bands are set to Shelving this knob will set the shape of the shelving filter from gentle to steep and resonant.

When Off. All bands are Off at startup. Individual bands EQ points can be dragged to set Gain and Frequency points without using the equalizer knobs. When the band is ON the button is green. High precision. Left channel curve will be displayed in green. This variable high pass filter prevents. Using higher values. The detector stage is where the com- pressor analyzes the incoming signal to determine how gain reduction must be applied.

At the minimum or at very low settings the compression will be much more aggressive and noticeable. These effects are sometimes desirable. This is no threshold point leveller so the amount of compression is determined by the strength of input signal.

Turning it up you will increase the stereo width and vice versa. With lower values the gain reduction will respond quicker and transients will be more affected.

Higher values give a more effective compression effect with. Value range is from 70 ms to 1. When compression does not occur. This compressor has some unique features that make it very flexible but always very musical and creative. Lower values give a gentler and less noticeable compression effect.

With higher values. Using lower values. Value range is from 15 ms to 80 ms. Classic T-RackS Compressor figure 4. While adjusting. When compression is affecting the signal the VU indicates the level of compression in dB.

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If you are not sure which ratio control value is suitable for your needs. This will give you that big. The higher this knob the softer and more inaudible the compression character will be. To turn OFF the Compressor module.

When the LED is lit. You will have a very loud master. While adjusting Input Drive. When limiting does not occur the VU shows 0 dB. Unlike the compressor module. For example lower the low-mid point to. You can check this by looking at the analog VU on the right. Setting this knob to a higher value will result in less frequent gain reduction.

If you want to preserve more peaks. The default positions are fine in general but you can experiment with different settings. This VU shows the average value of limiting by all three spectral bands. Use this as a very broad tone control tool on the mix.

This is a global. Lowering the value the threshold will be lower and the limiting more frequent. This is the amount of time the limiter will take to return to normal gain after a peak limiting has occurred. The peak limiting action is made separately on the three bands low. If you drive more signal through the limiter input. Obviously setting this control at higher values will give you more loudness.

This is very useful to get the correct level of each band after the limiting.

When limiting is affecting the signal. Raising the threshold will make the limiter compress that band less. Value range is from 60 ms to 1. To turn OFF the Limiter module. This is the level of the signal injected into the clipper and will determine the quantity of saturation applied to the audio. In theory they should never turn on.

Depending on music styles. If you are unsure. This means that. L is on the top and R on the bottom. Classic T-RackS Clipper figure 4. Classic T-RackS Equalizer figure 4. When the filter is active the button is highlighted in yellow. Sweep range is from 16 Hz to 5. All frequencies up to this value will be boosted or reduced. Range is from Hz to It consists of: Range is 33 Hz to 5.

You can set the cutoff frequency anywhere from 30 Hz to Hz. Range is from dB to 15 dB. Range is from to 18 kHz. The range is from dB to 15 dB. The release time is fastest when the Release knob is in its fully clockwise position. The release time is adjust- able from 50 milliseconds to milliseconds. A setting of 4: Once the desired amount of limiting or compression is achieved with the use of the Input control.

The attack time is fastest when the Attack knob is in its fully clockwise position.. Higher ratios will make the Black 76 work as a limiter. The strong sonic character of Black 76 makes it one of the most ver- satile compressor. Black 76 gives drums power. Based on all discrete transistor circuitry with true peak limiting and fast attack time.

Black 76 can be used on everything: Black 76 Limiting Amplifier figure 4. The Black 76 attack time is adjustable from 20 microseconds to microseconds both extremely fast. Click M to set the compression for the Center Mid of your stereo image or S to set compression for the Sides.

This means that you will be able to independently compress the Center or the Sides of your stereo program. Note that the signal flow will be interrupted. Clicking again reverts the controls back to the values last set by the user for an easy and convenient comparison or to avoid unintentional mistakes.

It is a must-have for tracking and mixing vocals and anything that needs gentle. There is no compression when the knob is turned fully counterclockwise. Its tube driven electro- optical gain reduction circuit is well-known for a very smooth and natural compression. This character has been faithfully captured in the White 2A plug-in — right down to the accurate movement of the meter — in order to provide you with one of the most useful tools for your compression needs.

White 2A is also great for winds. Once the Peak Reduction control is set. Clicking again reverts the controls back to the values last set by the user for easy and convenient comparison or to avoid unintentional mistakes.

White 2A Levelling Amplifier figure 4. When set to Gain Reduction. EQ Section: LOW Band: British Channel figure 4. The extreme counterclockwise position will have none to minimal gain reduction. When engaged the HP and LP filters are not usable for their primary purpose. When engaged the compressor section is shifted before the EQ setion. This two different circuit designs offer sonically distinct results. This is a very effective way of compressing a particular frequency which is selected with the EQ section.

Just like the other.

T-RackS CS User Manual.pdf

In the OUT position the filter is inactive: Lower values of this control 1: The lower the threshold. At the 0 position the module is not compressing. Longer release times will result in a more natural sounding effect and increased sustain on particular instruments. Clicking again will bring the controls back to their last state. It can be used to avoid clipping and overloading of the output stage in case some very radical EQ boosting is applied.

Turning the knob clockwise will lower the threshold and. It can be quite handy to emphasize attack transients on percussive instruments like snare or kick drums and the likes. A note on Auto Makeup Gain: As an example. The OUT knob will make calibrating the final output of the module easy in order to avoid clipping. Each band is loaded with an optical compressor of particular effectiveness but with a very smooth sound and a full set of adjustable parameters.

The extreme counterclockwise values will result in a very fast attack 0. The extreme clockwise position with a ratio of Multiband process- ing at the core of this plug-in splits the incoming signal into up to four frequency bands and treats each one separately with a dedicated set of controls.

To modify the width of a band click and drag on the top square marker and adjust to the desired frequency which will appear during movement. The width of each band can be finely adjusted so that the processing can be very selective in case of a narrow band or spread across a wider range. Turning the knob counterclockwise will progressively lower the threshold resulting in more compression.

Quad Comp figure 4. Lower values of this control when turned fully counterclockwise will result in none to light compression of the selected frequency band. Clicking again after the reset will bring them back to the last setting they were left. This can be handy when all control must be set identical for all bands. Short release times will result in a more audible compression effect while longer ones towards the extreme clockwise position will result in a more natural compression and in increased sustain of several sources.

It can be used as a makeup gain to compensate for level loss after compression or to adjust the balance among the four bands. This control determines the steepness of the filters which will be used to split the frequency spectrum in bands. The only exception is the gain control which can be still independently modified for each band by using the Gain Dot on the frequency display.

Of course. This fader works pre Brickwall Limiter so it can be used to boost the overall level and amount of limiting after the settings on the four bands have been adjusted without the risk of clipping or overload. Each band is loaded with a peak limiter which controls dynamics with extreme precision and accuracy across the whole spectrum.

Multiband processing at the core of this plug-in splits the incoming signal into up to four frequency bands and treats each one separately with a dedicated set of controls. Quad Lim figure 4. This will let you produce very loud masters with a controlled frequency balance. The extreme counterclockwise values will set a very fast attack 0. The width of each band can be finely adjusted so that the processing can be very precise in case of a narrow band or spread across a wider range.

Turning the knob counterclockwise will progressively lower the threshold resulting in more limiting. In addition to the four limiters the Quad Lim is loaded with a master brickwall limiter located post processing so that no overs can escape and clipping is avoided. Anyway, too short release times will cause audible distortion and artifacts especially at low frequencies , so take the time to adjust this parameter carefully. Working in conjunction with the threshold parameter it can be used to raise the gain of the selected band effectively making it louder as transient peaks are limited and RMS value of the track increased.

This can be handy when all controls must be set identical for all bands. Consider this additional limiter as an extreme protection to avoid any possible clipping or overloading of the program; its fixed parameters are carefully adjusted to result in maximum transparency and effective overload protection. Working in conjunction with the master output fader it can also be used to globally increase the level of the track after the limiters on all four bands have been set. Clicking again after the reset will bring them back to the last setting they were left in, in case you accidentally hit the reset button or changed your mind.

The Quad Image figure 4. Multiband process- ing at the core of this plug-in splits the incoming signal into up to four frequency bands and treat each one separately with a dedicated set of controls. Clicking again after the reset will bring them back to the last setting they were left in. A wealth of controls adjusts the de-essing action to suit any particular situation. The frequency range of this module is centered in a different area than the other processors in the Multiband Series its range goes form 1 to 13KHz.

To modify the width of the bands. Higher values of this control will result in harder separation with less interaction of the de-essing action on adjacent bands. This is because de-essing process is only used in this range of the spectrum. With this processor. Be careful to adjust this control as too much de-essing action could result in unnatural sound. The resulting reduction in HF content is displayed on the adjacent led meter. De-Esser figure 4.

When originally designed. This was all housed in a 4 x 8 foot box. Its smooth attack and bright characteristic make it a great choice for adding depth to a snare drum without burying it in the reverberation.

Since the creation of digital reverbs. It is exceptional on vocals. The diagram below figure 4. It is also often used on drums and percussion. There are two operating modes for this module: They consisted of a large metal sheet. A pickup or 2 if stereo was used to capture the sound.

CSR Plate Reverb figure 4. If you are using your reverb as a send effect. Using High frequency dampening often gives a more natural sounding reverb. A small diffusion setting simulates an acoustic space with smooth walls. For example a value of swaps the left and right channels. This allows you to emulate the way different materials in a real room. Use this control to increase or decrease the amount of reverb in the sound. With a setting of Increasing the prede- 4. This control can be used to create mono.

A larger diffusion setting creates a more open and dense sounding reverb. This is a commonly used control that shortens and lengthens the time that the reverb tail lasts. It can also be changed in real-time or automated using the modulation or macro matrix. This control allows you to change the signal from normal stereo to mono and manipulate the phase of the signal. This is adjustable from dB to 0dB. This control ranges from 10Hz to 20 kHz.

You can use Disperse to vary the apparent size and character of the early reflection. If used higher than that. This echo is routed to the reverb engine and the feedback path as well. To hear significant changes in this control.

Modulation continually changes the timbre of the reverbera- tion. This control is measured in meters and is approxi- mately equal to the longest dimension of the space. To create a slower buildup in the reverberation. When this control is turned down. If used in smaller amounts.

It allows you to route 4 modulation sources to a selection of parameters in the reverb engine. Here is a diagram of the modulation system and its sources and destinations figure 4.

The modulation matrix is a flexible system for adding continuous movement to the parameters and sound of Classik Studio Reverb mod- ules. Modulation The matrix window figure 4. You can achieve subtle or extreme variations in the reverb by applying the modulation sources to the different parameters destinations in Classik Studio Reverb.

Square Wave. These envelopes can be used to modulate any of the available destinations in the matrix figure 4. These signals can be used to modulate any of the available destinations in the matrix figure 4.

They can be triggered from Input L.

Pro mastering for beginners, with IK Multimedia T-RackS

Any of the modulation sources can be routed multiple times up until all 8 inputs of the modulation matrix are full. This value will change depending on the selected parameter figure 4. Destinations Destinations figure 4. Almost every parameter in the CSR reverb engine can be chosen. These sliders can be assigned to multiple parameters. You can also create complex morph- ing controls. So you can add additional single controls to the front panel.

This value will change depending on the selected parameter. If the min value is set higher than the maximum value the macro control will move the parameter in the opposite direction figure 4. You can choose almost every parameter as a destination source. This will open up a new dialog box figure 4.

Now this name will appear on the front interface of CSR after you save the preset figure 4. CSR Hall Reverb figure 4. This is typically a very pronounced reverb effect. Many people would describe this as a vocal reverb.

This is useful on vocals if you are looking for a thick. This type of effect has been widely used to create large ambient spaces.. Hall reverbs are useful in creating a large space around any musical sound. Digital reverbs made this sound popular.

Using High frequency damping often gives a more natural sounding reverb. Increasing the prede- lay can create a sense of distance and. Refer to paragraphs from 4.

This can be used to create more accurate spatialization of the reverb effect. This type of reverb is very effective on any instrument where you want to add the illusion of recording the sound with room ambience. Adding a little bit of room reverb can make the sound sit nicer in the mix and give the illusion that the sound came from a nice sounding room.

This is useful on any sound needing a small to medium size acoustic space. CSR Room Reverb figure 4. Often used on drums.

This might seem like a simple thing. When turned off. A Reverse reverb applies an envelope slow attack. Try combining this reverb with another reverb effect to create a complex moving ambience around the sound. The main parameter that affects the sound of this reverb is time. Time can be adjusted for the buildup and cut off of the early reflections. This affects the sound as if it were being reversed in the reverberation.

This type of reverb can be heard on many rock snare drums from this time period. It is also useful with vocals or any sound that needs an unnatural but interesting ambience. CSR Inverse Reverb figure 4. This type of reverb has been heavily used on drums and percussion. Negative values make the mid to high frequencies become quieter over time. The actual frequencies affected are determined by the Crossover.

A value above 0 creates a smooth rise from soft to loud over time. Positive values will cause the middle to high frequencies to swell from soft to loud over time. A negative value causes the low frequencies in the reverb to become quieter over time before dropping off.

The higher the value the more pro- nounced the swell. More extreme settings will make this attenuation more prominent. It also has all of the automation features that made it one of the most. White Channel figure 4. The extreme counterclockwise position will have none-to-minimal gain reduction.

When engaged.

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In the OUT position. These two different circuit designs offer sonically distinct results. This is a very effective way of compressing a particular frequency that is selected with the EQ section. When engaged the compressor section is shifted to before the EQ section when disengaged. Click M to set the compression for the Center Mid of your stereo image. The extreme clockwise position will result in a limiting effect. The L and R icons will be replaced by M and S. It can be quite handy to emphasize attack transients on instruments like snare or kick drums and other percussive sources.

Due to its VCA circuit design and operation. Lower settings of this control result in a more compressed signal. Bus Compressor figure 4. This control is particularly useful when compressing mixes with heavy bass content.

As a result. If pressed again the controls go back to their last state. This compressor was so in-demand that it was also released as a separate. This control has no fixed settings. At lower settings.

Click M to set the compression for the Center mid of your stereo image or S to set compression for the sides. This means that you will be able to independently compress the center or the sides of your stereo program.

IK Multimedia - T-RackS 5

When set to A. Setting decay to maximum sends the unit into feedback. When A or B control is set to minimum the signal is completely dry. Tape Echo EchoFlex figure 4. When the Mode switch is set to A or B the value shown will correspond to the one set for that channel. Possible values are: The simple interface makes it a very intuitive and fast echo device. When set to A or B the delay times are independent for each channels.

Mastering Tutorial: Mastering With IK Multimedia’s T-RackS

The Tape Echo has been modeled down to the tape behavior and anomalies like wow and flutter. At the most extreme setting also AC line hum will became very audible. At the most extreme setting the effect is particularly aggressive with pitch and speed changes just like in the real unit. Clicking on the border of the open hatch will close it.

Clicking a second time will bring the module to its last setting. Its sonic character is not as aggressive as that of many other popular units of the same era. A ratio of 3: These characteristics are also aided by the set of transformers used in the signal path. Auto 1 and Auto 2. Even when the unit is pushed to extreme settings and despite its fixed 1ms attack time. The minimum resolution for each step is 1.

The compressor and limiter can operate independently from each other. The compression is achieved via a set of diodes. Use it to compensate for gain loss from the compression effect. When the limiter is kicked in. Click M to set the compression for the center mid of your stereo image or S to set compression for the sides. Master EQ figure 4. MID Parametric Band: This was a key factor in defining it as the first-call EQ among mastering engineers which it still is today.

The settings are 50Hz or Hz. The frequency of the band is fixed at 10 KHz. The design quickly became the basis for subsequent parametric EQs from manufacturers the world over. The frequency of the band is determined by the selector. This piece of hardware was the brainchild of two of the most ingenious minds in music recording technology.

The settings are 5. Shelving Bands: On top of the fully parametric and totally independent bands with almost no interaction something that was not avail- able until this circuit topology invention. LO Parametric Band: This means that you can independently equalize the Center or the Sides of your stereo program. The L and R icons are replaced by M and S in this mode. This allows to have a different resolutions per step of the gain knobs in case finer adjustments are needed.

It can be used to compensate the variability of the input level in both positive or negative. Thanks to this particular circuitry the signal passing through it becomes thick and bold making every instrument stand out with fullness. This class A device has a sonic signature that is almost instantly recognizable to engineers and recording enthusiasts the world over.

OFF position switches the band out of the signal path. Frequency is fixed to 12KHz. Increasing gain will result in more level and progressively more satura- tion of the processed signal. EQ 73 figure 4. Possible frequencies are: When EQ is not active the signal is still passing through the preamp section. Available frequencies are: To bridge the classic sound with modern functionalities the control layout was improved over the original design.

The most evident difference here is in the versatility of the EQ section. As for the EQ OFF position switches the filter out of the signal path. Sets the input level of the modeled mic preamp section. EQ 81 figure 4. There are a few twists which make the EQ 81 capable of delivering a voice of its own. Switches the bandwidth of the High Mid Band from constant 0.

OFF posi- tion switches the band out of the signal path. OFF switches the band out of the signal chain. The EQ PA figure 4. Intermediate steps are not shown on labels but available to the user. Adjusting the gain when the preamp is engaged will add the harmonic saturation from this part of the circuitry, whose results can be either a subtle harmonic enhancement to the track or a very pronounced distortion.

Use it to taste for many creative results. Click again to bring the controls back to their previous state, in case you accidentally hit this button or changed your mind. Similar to its EQ PA brother, this module figure 4. Combined with the preamp stage this can be a toneful machine capable to deliver a vast array of tones. Click again to bring the controls back to their previous state.

Adjusting the gain when the preamp is engaged will add the harmonic saturation from this part of the circuitry. This makes for several differences in that the equalization can be applied on larger parts of the spectrum by acting on several bands at once. EQ PG figure 4. RMS and Averaging indications.

The metering section includes: Peak Meter This is a precision sample-accurate peak meter that shows the instantaneous audio peak level. This is very useful to keep the top of the available headroom under control.

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