Here you can see the range of adustment settings available for just the new spectrum analyser.Mitigating the control limitations of these thoroughbreds are the optical compressor and digital equaliser, which provide a much freer parameter range, and by nature of their sonic unobtrusiveness allow you to take up any slack left when you've pushed the Pultec or Fairchild as far as each will pleasantly go. That said, IK have included the Fairchild's DC Threshold trimmers, added as a modification to some hardware, which adjust the compression knee. While this maintains a more authentic recreation of 'the sound', it can, of course, be a little frustrating in practice.
The Fairchild and Pultec models take the purist approach of sticking with the control quirks and limitations of the original hardware, so, for example you only get the limited choice of EQ frequencies provided on original Pultec hardware. However, the other two processors are something of a departure, offering new transparent digital limiting and EQ algorithms to complement the more colourful analogue‑style palette. It comes as no surprise, given T‑Racks' history, that three of these model desirable analogue circuitry: the Fairchild 670 valve compressor, the Pultec EQP1A valve equaliser, and an apparently generic optical compressor (the controls of which nonetheless bear a striking resemblance to those of the Teletronix LA2A). The original cohort of mastering processors available in previous versions (Classic Equalizer, Compressor, Multi‑band Limiter and Clipper) are still present and correct, but have been supplemented by five additions. New ProcessorsĪ new Compare function lets you evaluate mastering processing setups without the misleading effects of loudness differences between the processed and unprocessed files. Now it has reached its third‑generation incarnation, expanded with new virtual rack units, more flexible audio routing, and higher‑spec audio processing and metering. Back then it was a comparatively simple stand‑alone processing package for 16‑bit audio files, albeit with a suite of euphonic analogue‑modelled processors that quickly earned themselves a loyal fan base.
Paul White reviewed the first version of IK Multimedia's T‑Racks mastering software in SOS February 2000 ( /sos/feb00/articles/iktracks.htm), and since then it's come a long way. New in T‑Racks 3 is a matrix that allows you to construct complex processing chains, although there is only limited control available from this overview window. Do the improvements in version 3 keep it ahead of its rivals? IK's original T‑Racks invented the idea of 'one-stop shop' software for master processing.
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