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T-RackS 6 is designed as an all-in-one solution for mixing and mastering, offering a seamless, efficient workflow for musicians, producers, and engineers. The system provides over 25 years of expertise with cutting-edge technology to deliver high-quality results effortlessly. With 60 world-class effects that range from analog to digital, T-RackS 6 is positioned as a complete ecosystem that supports single effects, plug-ins, and a standalone mastering console. It is built with presets tailored for different genres, styles, and situations, enabling users to create professional-level mixes without the need for complex setups.
The new features in T-RackS 6 aim to enhance user control and streamline workflows. One of the key additions is the new Modules Manager, which allows users to install only the plug-ins they need, avoiding clutter in the DAW (Digital Audio Workstation). Another notable improvement is the inclusion of side-chain functionality in all plug-in modules, offering greater flexibility for modern production techniques. The redesigned graphical interface provides a sleek and optimized experience, and tools like the Master Bus Panel, In/Out Metering, and customizable meter windows allow for precise control of the project’s audio.
Mastering Console
The standalone Mastering Console in T-RackS 6 is designed specifically for mastering, allowing users to work on individual tracks or entire albums without the need to load a DAW. This console offers analog-quality sound in a digital format, providing a wide range of mastering tools and meters. It comes pre-loaded with 41 modules focused on mastering, offering both vintage analog-modeled and modern processing options. Other useful features include waveform editing, industry-standard export options, and ARC integration, making the Mastering Console a comprehensive tool for finalizing professional-quality tracks.
T-RackS Plug-in
In addition to its standalone capabilities, the T-RackS 6 Plug-in integrates seamlessly with DAWs, providing users the flexibility to mix and master within their preferred software environment. The redesign with a resize feature ensures a perfect integration with your DAW. And with the new Module Browser, users can load up to 16 plug-ins in series or parallel, offering extensive options for creating customized mixing and mastering chains. These modules are designed to handle a variety of production needs, from enhancing vocals to perfecting drum buses and guitars. The T-RackS Plug-in also supports presets from previous versions and comes with new preset packs created by top producers to boost the creative process.
Plug-in Collection
T-RackS 6 also introduces eight new modules to further expand its capabilities. These include tools like Master Match X for genre-based mastering, Channel Strip X for next-level EQ and dynamics, and BassONE for enhanced low-end control. The new modules are designed to offer flexibility and precision, whether users are looking to shape unique sounds with Lo-Fi Punch or achieve sophisticated delay effects with Delay Lab. With these additions, T-RackS 6 continues to expand its toolkit for modern music production, providing users with the tools to create high-quality, hit-worthy music effortlessly.
What’s New in T-RackS 6
New Modules Manager: No more clutter with total control over which modules appear in your DAW.
T-RackS Plug-in: Mixing and Mastering chains ready to speed up your creations
T-RackS Singles: All dynamic T-RackS 6 plug-in modules now feature side-chain functionality.
Revamped GUI: Experience a sleek, optimized interface for fast and efficient workflow.
Master Bus Panel: Enjoy full project control with comprehensive tools to guide you.
In/Out Metering in Chain View: Get a quick and comprehensive overview of your audio levels.
Enhanced Floating Preset Window: Take advantage of intelligent features that simplify and boost your creative process.
Customizable Meter Window: Tailor it to fit your preferences and needs precisely.
8 Exciting New Modules: Expand your sonic palette with the latest additions, including Master Match X, Channel Strip X, Bass One, Lo-fi Punch, Dual Spring, DelayLab, Pusher and Filter Fusion.
World-class mixing and mastering effects: Black 76, Brickwall Limiter, British Channel, Bus Compressor, Classic Clipper, Classic Compressor, Classic Equalizer, Classic Multi-band Lim, Comprexxor, CSR Hall Reverb, CSR Inverse Reverb, CSR Plate Reverb, CSR Room Reverb, De-esser, Dyna-Mu, EQ 73, EQ 81, EQ PA, EQ PB, EQ PG, EQP-1A Vintage, Equal, ONE, Opto Compressor, Precision Comp/Limiter, Quad Comp, Quad Image, Quad Lim, Saturator X, Space Delay, Stealth Limiter, Sunset Sound Studio Rev, T-RackS Leslie, Tape Echo, Tape Machine 24, Tape Machine 440, Tape Machine 80, Tape Machine 99, TASCAM 388, TASCAM PORTA ONE, TEAC A-3340S, TEAC A-6100 MKII, The Farm Stone Room Vintage Tube Model 670, Metering, Mic Room, Lo-FiPunch, Pusher, SpringReverb, Master Match X,, Channel Strip X, FAME Studio Reverb, J. Chiccarelli Vocal Strip, Linear Phase Equalizer, Master EQ 432, White 2A White Channel, BassONE, Delay Lab, Filter Fusion
Innovative tone, in a DAW or on its own
With T-RackS 6, you have the freedom to optimize your workflow as you please with 3 different working environments. You can use the modules as single plug-ins inside your DAW or under an integrated plug-in suite that can host up to 16 modules at a time and create complex signal chains.
You can, of course, run T-RackS as a standalone application and perform all processing from its resizable interface. Plus, if you own IK’s ARC System, the ARC processing will be seamlessly integrated into the signal chain when you open T-RackS in standalone mode.
Signature presets from the industry’s top engineers
Not only have IK packed an incredible number of features in the all-new T-RackS 6, but they have also teamed up with some of the industry’s most innovative engineers to provide you with kickin’ presets you can use in your productions and that will help you adopt the same approach as the one that defined the sound of these incredibly gifted studio giants.
Processors included in T-RackS 6 MAX v2:
The Farm Stone Room Studio Reverb
Phil Collins made history when he tracked the explosive drum sounds for the worldwide hit song “In the Air Tonight.” Awash in the unique reverb of the studio’s stone-walled drum room and crushed by compression, it has become perhaps the signature drum sound of the ′80s. Also used on Peter Gabriel’s “Intruder” and many other hits, the combination of heavy reverb and massive compression has been widely influential and instantly recognizable ever since.
Seeking to recapture that magic in their own studio, “Fisher Lane Farm” in the UK, the band Genesis enlisted the original engineer Hugh Padgham to build a drum room to the same specs as the one at Townhouse Studios where the iconic drum sound was produced. And while both rooms are sadly now gone, IK was given exclusive access to the Farm before it closed forever to preserve its distinctive sound in a brand-new plug-in.
The Farm Stone Room is here to give your drum tracks the sonic impact that only this type of rare stone live room can offer.
Joe Chiccarelli Vocal Strip
Based at Sunset Sound Studios in Hollywood, California, world-class engineer/producer Joe Chiccarelli has developed a reputation for crafting impactful, emotional vocals that helped him earn 10 GRAMMY and Latin GRAMMY awards.
It’s also made him sought after by such artists as U2, Beck, The Strokes, Juanes, The Killers, Morrissey, Tori Amos, The Shins, Alanis Morissette, The White Stripes, Jason Mraz, Cage The Elephant, Vance Joy, Spoon, The Raconteurs, Cafe Tacvba, and My Morning Jacket.
IK worked hand-in-hand with Joe to ensure T-RackS Joe Chiccarelli Vocal Strip offers an exact recreation of the signal chain used by these top artists.
FAME Studio Reverb
Among those in the know, it’s called the “hit recording capital of the world.” For over 60 years, FAME Recording Studios in Muscle Shoals, Alabama, has produced an endless stream of iconic hits powered by a sound that simply can’t be found anywhere else in the world.
Above the door hangs the famous sign: “Through these doors walk the finest Musicians, Songwriters, Artists and Producers in the World.” Now, T-RackS FAME Studio Reverb lets you step inside the magic as well, capturing the sonic mojo of this world-changing studio’s live rooms, iso booths, plate reverb and – for the first time in decades – their newly restored chamber.
It’s as close as you can get to adding this little town’s big sound to your recordings.
TASCAM 388
The TASCAM 388 was a large format studio in one unit. It featured a standard mixer with full faders along with a tape machine section, which could perform 8-track multi-track recording. The sound of the 388 is described as “magic” by many musicians, becoming legendary over the years.
The TASCAM 388 remains the most sought-after tape recorder ever made by TEAC or TASCAM. You can easily spend $5,000 or more for a working unit today. You’ll find in this officially certified plug-in version, for a fraction of the cost, the original’s tone-tweaking controls and exactly the right sonic flavor to enhance your next musical production.
TASCAM PORTA ONE
TASCAM literally invented affordable and portable recording in 1979 with the super innovative TEAC 144, followed by the TASCAM 244. But actually, it was the TASCAM PORTA ONE that became the bestselling Portastudio ever and led to a revolution in home and mobile recording.
Able to run on batteries and with affordable cassette tapes, the PORTA ONE was literally the multi-track you could throw in a backpack, take anywhere and use to record. Now with the officially certified TASCAM PORTA ONE, you can tap into that free-spirited frame of mind and enjoy the sound that inspired some of history’s greatest songs.
TEAC A-3340S
The TEAC 3340S 4-channel Simul-Sync® tape deck was part of the second generation of their Creator series. With Permalux® heads for excellent frequency response, low distortion and resistance to wear, the 3340S was the most versatile quadraphonic tape deck at the time.
Until then, conventional 4-track recorders didn’t permit overdubbing in sync. And that’s where Simul-Sync technology from TEAC admirably comes to help. Turning recording, bouncing and overdubbing into an art form, this officially certified TEAC A-3340S will offer you the same channels of creativity that inspired so many great songs.
TEAC A-6100 MKII
The TEAC A-6100 MKII was one of the first tape machines ever made for the sole purpose of mastering. During the development, IK interviewed the original product designer who explained how TEAC engineered the A-6100 in 1973 to be the most reliable and best-sounding mastering deck possible.
And so the TEAC A-6100 MKII was born. Indestructible and without compromise on any components, it was a huge success. In fact, the A-6100 with its admirable sound and Simul-Sync® technology was the core unit that evolved into the famous 80-8 multi-track. And now this officially certified digital version is here to add its unique sonic textures to your music.
Comprexxor
T-RackS Comprexxor is based on one of the most flexible and creative analog compressors ever made. With eight selectable curves, selectable 2nd or 3rd order harmonic saturation, high-pass/band-pass filters on the sidechain path and much more, Comprexxor delivers endless sonic flexibility, whether that’s emulating classic sounds of the past or inspiring new ones for tomorrow.
Comprexxor features eight selectable ratio curves representing legendary analog compressor designs and others only imagined. Each ratio selection features its own threshold setting starting from the 1:1 mode, which adds warmth without compression, all the way to the MAX setting, which is a dramatic brick-wall limiting curve.
Space Delay
Tape echo offers a unique sonic signature, and perhaps no unit offers a more recognizable sound than the Roland® RE-201 Space Echo™. Now you can enjoy the endlessly flexible controls and the instantly recognizable organic sound of this classic delay unit, captured with an unprecedented level of detail in the T-RackS Space Delay.
The limitless potential, ease of use and incredible sound made it a favorite of artists across the globe and in countless genres, from Bob Marley to Brian Eno, Pink Floyd to Portishead, Sublime to Sonic Youth, Randy Rhoads to Radiohead, heard on literally thousands of songs and still in high demand today.
Using the same mix of dynamic convolution and physical modeling as IK’s Tape Machine Collection, the T-RackS Space Delay captures the sound of this iconic effect, down to the finest detail.
Sunset Sound Studio Reverb
Experience one of the world’s most iconic studios in your DAW! Few studios in the world have contributed as much to the sonic imprint of music culture as Los Angeles’ Sunset Sound Studio.
T-RackS Sunset Sound Studio Reverb lets you step inside Sunset Sound studios, capturing the sonic mojo of each one of these echo chambers, live rooms, booths, plates and springs, as well as the unique vibe of their custom consoles and classic mic collection.
It’s the closest thing to tracking your session in this hall-of-fame studio itself.
Tape Machine 24
Professional analog tape recorders are highly prized tools, valued for the unique character they impart to audio – interesting considering that they were designed to be as transparent as the technology of the time allowed.
The MCI JH24 was first produced in 1980 and was a staple in studios across the US throughout the ‘80s. This completely transformerless, high performance op-amp-based design delivers a pristine, phase coherent and remarkably true-to-the-source audio performance.
This fantastic machine, designed and manufactured in the US, has a unique sound which is carefully recreated in the T-RackS Tape Machine 24.
Tape Machine 80
When it comes to professional analog multi-track tape machines, there’s perhaps none more respected than the Studer A80.
The A80 was produced from 1970 through 1988, and remained a studio staple throughout that time. In its various revisions, the A80 became an essential part of countless influential records, with a perfect blend between transparency and subtle harmonic enhancement.
This Swiss machine became the universal standard for professional high-end multi-tracking, and now it’s available for you as the T-RackS Tape Machine 80.
Tape Machine 99
When it comes to the character of analog tape machines, most of us think of the massive units found in recording studios throughout the ‘60s, ‘70s, and ‘80s. But companies like Studer also produced smaller units, which became staples in broadcast and location recording.
The Tape Machine 99 re-creates the Revox PR99 Mk II, a compact, rack-mount stereo recorder produced by Studer in the 1980s under their Revox brand. Engineered around a hybrid design that takes the best of discrete and op-amp topologies, it offers an un-hyped, elegant sound with an extremely smooth frequency response.
T-RackS Leslie
IK Multimedia and Hammond USA and Suzuki Music Corp. of Japan, teamed up to bring you nothing but the best sounding Leslie of the entire digital world, giving you 5 legendary Leslie® amps and 6 cabinets in one powerful module, that you can now use inside T-RackS 6 mixing and mastering workstation to further shape the sound of your tracks.
Master Match
The Master Match module is an entirely new type of plug-in that automatically matches the sound of your songs with up to 3 different source tracks used as a reference. This lets you create great sounding mixes or masters by capturing the overall sound of your favorite reference tracks and then applying it to your own music quickly and easily without even requiring audio engineering experience or specialized skills.
Master Match calculates the spectral balance and perceived loudness of the reference tracks, analyzes them using highly sophisticated algorithms and then creates an exact match for your source mix, providing an editable ultra-high quality EQ curve and level adjustment. This can be achieved using Master Match as a stand-alone processor or at the end of a pre-existing processing chain, making it perfectly suitable as a powerful mixing tool.
Dyna-Mu
Heavenly analog compression. Silky, musical tone. Glue your mixes together with all-tube character.
The Dyna-Mu is an amazing emulation of a well-known American tube compressor celebrated for its warm sound and vivid colored tone, which thanks to IK Multimedia’s virtual circuit modeling, is perfectly recreated and indistinguishable from the hardware. This modern-classic compressor has the characteristic of gluing a mix together with incredible quality, along with how it shines on individual tracks and is perfect as part of a professional mastering chain. Additionally, the saturation it produces when pushed to its limits can be used to add unique color to your mixes as well as individual tracks.
EQual
The EQual digital equalizer is a 10-band, ultra-clear, high-end parametric equalizer with an extremely transparent sound, ultra-precise editing and a vast array of filter shapes that are based on the typical curves of classic British and American analog EQ’s. This incredibly flexible “hybrid monster” gives you the best of both worlds – digital precision with transparent clarity and on-demand analog character that works perfectly for high end mastering as well as individual track work.
ONE
The new ONE processor was designed as an “all-in-one” solution for easily crafting final masters or shaping the sound of single tracks as well as mix subgroups with astounding simplicity and mind-blowing effectiveness.
ONE includes an EQ, compressor, harmonic exciter, low-end enhancer and limiter that will let anyone achieve professional quality results quickly and easily.
Metering
T-RackS 5 includes a redesigned and comprehensive suite of metering tools that provide you with immediate and complete visual information about the content of your audio material, so you can easily achieve professional results that will meet the strictest broadcast compatibility and digital delivery standards ensuring your mixes always sound great.
If you’ve worked on audio projects in the analog domain, you’re familiar with these concepts. You know what they are, what they can do to a track or recording, and how to get them to work their magic.
The effect of Saturation, or the introduction of harmonic distortion, on an audio track or mix can add that certain special “flavor” and “warmth” that only magnetic tape, tubes, transformers or transistors can deliver.
The T-RackS Saturator X delivers that classic analog saturation and takes you on a trip back in time to the birth of “modern” recording before computers and opens your recordings to the mysterious, elusive and warm world of analog saturation.
Mic Room
Re-mike your mic with the sound of world’s best studio microphones.
Mic Room is a microphone-modeling tool for T-RackS that puts a world-class collection of over 20 classic and contemporary microphones at your fingertips. It gives you the power to process and “re-mike” your physical microphones to sound and perform like some of the most coveted mic models of all time.
With dynamic, condenser and ribbon microphone models to choose from (plus other unconventional and highly creative models), it offers an inspiring and essential array of tone sculpting tools that are conveniently ready for use as a T-RackS module in your DAW of choice.
Stealth Limiter
T-RackS Stealth Limiter is an ultra-transparent mastering peak limiter. It’s a versatile sonic ninja of a mixing and mastering tool that features an advanced inter-sample peak limiting algorithm that lets you turn up the loudness of your mixes while still maintaining a clean a sound that’s full of dynamic range and sonic breathing room. T-RackS Stealth Limiter is your new go-to mastering peak limiter when you want impressive loudness without the damaging side effects of traditional processors.
EQ PA
IK Multimedia meticulously modeled all of the custom op amp based circuitry to unveil the sonic goodness and detail that made this module ubiquitous on any major record production for tracking and mixing duties. Three bands of sonic excellence for a total of twenty-one frequencies make repeatability very easy, and their careful selection allows extremely musical results.
The EQ PA features several “IK-Style” digital-domain improvements to an already time-honored sonic print where frequency and gain knobs have been separated for improved usability and fast sight. The advantage of the T-RackS format makes for a clear and less cluttered interface that’s far superior in ease of use.
EQ PB
Following in the footsteps of its simpler three band EQ PA brother, the EQ PB module expands in flexibility by adding a fourth EQ band.
This module is so great sounding because of the rather simple all-discrete, custom op-amp based circuit schematic of the original hardware it’s based on. Its four peaking bands with seven selected frequencies cover the whole spectrum and then some. It also allows for the overlapping of bands for complex EQ shapes — this is invaluable in mixing sessions where the proper EQ is the key to finding the right balance and position of a track within a mix.
EQ PG
This EQ was originally designed as a variation to the standard three and four band console EQs. It bears the same all discrete signal path and proportional Q design of the EQ PA and EQ PB modules but uses a ten band graphic approach instead of the semi-parametric three and four band design of the other modules. This results in several differences, but still a killer sound.
EQ 73
Looking to impart that classic tone and warmth on your tracks? Look no further than the T-RackS EQ 73 module.
The T-RackS “EQ 73” module is based on one of the most renowned, heavily used, and sought after pieces of hardware in music recording history. Originally part of a large-format British mixing console, this unit was first introduced as a standalone rackmount module in 1970, and quickly became a studio staple. It was favored by recording engineers the world over for its thick class-A sound, rich in harmonics and fullness. On top of its preamp section, it sported a 3-band EQ that was also a key factor in shaping the richness and sound of countless tracks.
EQ 81
The T-RackS EQ 81 delivers that legendary British warmth and tone with a few twists. The EQ 81 is based on another classic piece of hardware whose character was instrumental in shaping the sound of many hit songs, the EQ 81 can be considered the evolution of its older brother, the EQ 73.
However, there are a few twists that make the EQ 81 capable of delivering a voice of its own. The key here is in the versatility of the EQ section, sporting four independent bands (high / low shelving, plus two midrange peaking filters) rounded out by high and low pass filters this module is particulary useful when a more precise intervention on a track is needed, still maintaining tone and organic, analog warmth in the signal path.
Master EQ 432
This module is based on what is considered to be the “golden reference”, the absolute standard in mastering equalizers. This piece of hardware was the brainchild of two of the most ingenious minds in music recording technology, true pioneers (whose ideas were key to many other designs) who joined forces to create what was the first parametric EQ ever invented. The design quickly became the basis for most of the following parametric EQs from manufacturers the world over.
Precision Comp/Limiter
The Precision Comp Limiter is based on one of the legendary British compressors found in top-level studios worldwide. Originally produced in the ‘70’s as an evolution of the previous 2254 model, it quickly became a much sought after unit for many audio applications, including music recording/mixing, mastering, post-production and broadcasting. Its sonic character is not as aggressive as that of many other popular units of the same era. Even when the unit is pushed to extreme settings, the compression is fairly gentle and retains a musical quality that doesn’t “choke” or squash program material. Nevertheless, the compression effect is clearly distinguishable.
Bus Compressor
The Bus Compressor is based on the mix bus VCA type compressor of a worldwide known and acknowledged British large format mixing console from the 80’s. It was used on practically every hit record and major production from the 80’s to present days, so much that its sound has almost become a trademark. This compressor was so widely used that it later became a stand-alone rackmount unit, so that it could be used separately from the large format console.
This legendary processor has been painstakingly analyzed and measured down to the very single component, compression curve, soft knee behavior and detection circuit; this in order to obtain a dead on reproduction that will impart a cohesiveness to mixes that is often referred to as “glue effect” where every instrument blends nicely with the others, and mixed tracks suddenly start to sound like “music”.
White Channel
The White Channel is the modern counterpart to the acclaimed British Channel, and is a dead-on recreation of a contemporary, high-resolution large-format analog console’s channel strip. The facilities of this plug-in are quite the same as in the British Channel, but the circuit design of the original hardware was conceived with a more modern approach to high bandwidth and signal to noise ratio. IK paid special attention to have these features closely matched in our model.
Tape Echo
The Tape Echo is a faithful recreation of the highly sought after Echoplex EP3 tape delay. The original unit made its appearance in 1969 and was immediately adopted by musicians and guitar players as the standard for delay effects.
The IK Multimedia Tape Echo takes all of the analog “imperfections” of moderate headroom class A electronics coupled with magnetic tape into account and puts them under user control, with the advantage of software flexibility and power: BPM syncable delay times, stereo operation for two independent delay lines, complete automation.
British Channel
The British Channel was modeled after one of the most widely used and acknowledged pieces of hardware in the music history. Countless hit records around the world have been produced on this large format British mixing console since the 80’s making it a true staple of the music production technology for its ultimate flexibility and trademark sound. Many of these consoles are still in active use today in the control rooms of countless studios around the world.
Black 76 Limiting Amplifier
The Black 76 Limiting Amplifier is modeled after what is probably the most used, most known and most universally recognized compressor/limiter in the audio industry. There are probably no professionally recorded tracks where this unit wasn’t used. It’s a true legend and a piece of music production history.
White 2A Leveling Amplifier
The White 2A Leveling Amplifier is based on a legendary vintage unit that is entirely tube-based. It’s a totally different device in terms of construction where all the compression magic happens inside an optically coupled element formed by a fluorescent panel and some photocells: the famed T4A element. There is no electronic circuitry involved with the compression itself. It’s just a tube amp with photo-resistors, lighted by a fluorescent panel driven by the output signal.
At the time of this invention, there were not many ways of making an audio compressor: only variable-mu and optical. Optical was the simplest one, and if proper elements for both the light emitting panel and the photocells were matched, magic happened.
On par with the other great classic compressor, the 1176, the White 2A is so simple to use, yet very effective: just set the peak reduction knob to achieve the desired limiting effect, and adjust the gain knob to set the output level. The result is a gentle, warm and fat compression is just magic at evening out dynamic tracks where a smooth and consistent compression is needed.
Vintage Tube Compressor/Limiter Model 670
This module is based on the “Holy Grail” of compressor/limiters, the Fairchild™ 670. With a faithful reproduction of each control, this is an incredibly accurate model that captures every nuance of one of the best Fairchild units available, one considered a true “golden reference”.
This Vari-MU type compressor/limiter delivers an incredible magic touch that makes everything that passes through it shine and sound more musical and emotional, thanks to its tube signal path and gain reduction mode. It was meticulously analyzed for months over every single detail, unveiling all of it’s secrets.
Quad Comp
As suggested by its name, Quad Comp is a multiband processor that incorporates up to four fully featured compressors of the Opto type, each one operating on a separate,user-definable frequency band.
Each compressor has a full set of controls allowing to tailor the compression on the band it’s applied on to achieve the desired result.
The flexibility of this processor is also augmented by the selectable slope of the filters which can be as broad as 6 dB/Oct or as steep as 24 dB/Oct, for maximum separation.
Even at the steepest slope the filters used in the Quad Comp always sound natural and musical, so that the processing applied to each band doesn’t suffer from phasing issues.
Quad Lim
Quad Lim is the limiter version of Quad Comp, which, according to the limiting principle, has a fixed, infinity-to-1 ratio. Time constants and makeup gain are user definable for increased control. As with Quad Comp you can adjust the slope of the filters that split the frequency bands, so that dynamics control is broader or sharper, depending on your needs.
As for the Quad Comp the quality and transparency of the filters used for the band splitting was particularly important so that no artifacts or ringing are generated at the crossover points.
Quad Image
Combining the concept of M/S (Mid Side) matrix processing of the stereo field with multiband architecture, Quad Image effectively allows control over the stereo width of each frequency band. Its simple control set notwithstanding the Quad Image is a powerful processor.
The M/S processing in each band allows complete control on the stereo image over selected frequencies. This can be either used to fix technical issues in mixes, where the relationship between center (M) and side (S) content may be wrong or may need tweaking in selected regions of the audio spectrum, or to perform creative effects like exaggerating the width of a stereo source, like a synth track, to generate cool and unusual stereo “tricks”.
De-esser
De-essing is also known as “frequency dependent compression,” but whatever you call it, the idea is to control excessive sibilance (exaggerated “s” sounds), which can be particularly problematic on vocal tracks. The multiband capability is a feature that puts the De-Esser ahead of the competition making it precise and versatile on top of good sounding.
The primary use of this processor is obviously on vocal tracks: this is where the IK Multimedia De-esser shines thanks to its multiband capability which allows to zone in with extreme precision on the troublesome frequency and put it under control.
EQP-1A Vintage Tube Program Equalizer
This module is based on what is universally known as one of the best and most musical program EQs ever made, the Pultec® EQP-1A. Extremely accurate modeling of two real world units, known to have “the sound”, with sonic performance that is indistinguishable from the originals, thanks to IK’s DSM™ and new SCC™ resulted in this great sounding plug-in.
Opto Compressor
Optical compression has a special sonic character that audiophiles can truly appreciate. The technology behind its behavior and the way it achieves gain reduction is so ingenious and at the same time quite simple: the core of the circuit is an electro-optical attenuator, whose light source intensity is directly proportional to the level of the incoming signal. The second part of the gain reduction circuit is a photoconductive cell, which reads the light’s intensity and in turn adjusts its resistance being applied to the signal. As a result, the output amplifier follows by adjusting its gain, thereby creating the compression.
Brickwall Limiter
The IK Multimedia Brickwall Limiter was designed to be used in mastering applications (though it also can be creatively used in mix contexts) as a final tool to bring your track or mix to “industry standard” RMS levels. Its transparency and ease of use make it a very fast way of achieving finished, master quality tracks that stand out with all the level and boldness demanded by modern digital audio. Just set the Output Ceiling and raise the input until the desired loudness is achieved.
Linear Phase Equalizer
The T-RackS Linear Phase Equalizer is a precision tool that allows for extremely detailed, clean and transparent tonal interventions on your audio material.
Linear phase operation is at the base of this six bands equalizer. This kind of processing is particularly useful when there is the need to perform tonal adjustments that do not sound colored, like they would do if another kind of EQ had been used. Linear phase EQ in fact doesn’t alter the phase response of the frequency band where the boost or cut happens resulting in an absolutely transparent and not smeared sound.
Classic T-RackS Compressor
The T-RackS Classic Compressor emulates that analog, hi-end vintage gear used in mastering applications. This will give you that big, warm sound typical of highly acclaimed hardware devices. This compressor has some unique features on top of standard compressor parameters that make it very flexible but always very musical and creative.
Classic T-RackS Multi-band Limiter
This three-band peak limiter can make the mix louder by reducing unwanted peaks.
The peak limiting action is performed separately on three separate bands (low, mid, high) whose width can be set by adjusting the two crossover frequency controls.
Each of the three bands has separate controls (threshold and level) to tailor the limiting action as precise as needed by the program material it’s used on. Input drive and time constant controls are common to the three bands.
Classic T-RackS Clipper
This processor uses peak clipping to tame unruly peaks, rather than the usual peak limiting, giving you another dynamics control option. Peak clipping is often a more transparent process than standard peak limiting, which is why mastering engineers often employ it. Despite its powerful engine, the Classic T-RackS Clipper is easy to use, with only: Gain, Slope, and Output controls.
Classic T-RackS Equalizer
The T-RackS Classic Equalizer consists of a high quality six-band parametric EQ, specially designed to achieve high-end performance in a mastering environment. The design of this parametric EQ filter bands allows to perform broad EQing such as giving “air” to the high end, “fullness” to the low end or “focus” to the midrange of a mix with a nice and smooth result for creative and musical applications; when needed though, given its flexibility, this processor can be used very effectively to perform very precise interventions; considering the sharpness its peaking bands can reach, it makes it easy to remove a troublesome frequency without touching the rest of the spectrum.
CSR Plate Reverb
Plate reverberation first came out in the late 50’s when an electromechanical transducer similar to a common speaker voice coil was coupled to a long metal foil (a plate) and a piezo pickup was wired at the other end. Running signal through the speaker would cause the metal plate to reverberate and the resulting sound picked up by the piezo transducer would be converted into electrical signal sent back to a mixing console to be mixed with the original dry signal.
CSR Hall Reverb
Reverb it’s one of the most complicated yet natural acoustical effects in nature. Hall reverberation is a particularly articulated reverb because of the nature of the space producing it. Thousands of reflections closely spaced together forming a lush and rich reverb tail.
CSR Room Reverb
The CSR Room reverb was designed to reproduce the kind of reverberation generated by medium to small acoustical spaces. It is particularly useful to “dress” a dry, close-mike recorded source in a natural ambience that won’t make it sound like an artificial reverb, but as it was actually recorded in a real room. This is far from easy as even though the reverberation doesn’t have a long decay the presence and importance of the early reflections make it really tricky to reproduce convincingly.
CSR Inverse Reverb
Reverse reverbs were popularized in the 1980’s. This type of reverb can be heard on many rock snare drums from this time period. A Reverse reverb applies an envelope (slow attack, fast decay) to the early reflections. 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 was being reversed in the reverberation, but in actuality it is simply an envelope effect.
A good sound design tool, given it’s strange and unnatural behavior, the CSR Inverse module is particularly at home in all of those situations where reverb is not used to simulate an acoustical space (like with the CSR Room, or CSR Hall modules): strange and breathing reverb effects that many pop and rock artists have made large use of in their productions are the bread and butter of this module.
Features
Works as a standalone application, as well as a plug-in
Full native compatibility with Apple silicon M1 and M2 processors
ASIO (Windows) and CoreAudio (Mac OS X) compatible (standalone only)
Configurable mixing/mastering chain – run up to 16 parallel / series processors
High-quality oversampling
High-precision and high-transparency digital processors
Accurately analog-modeled vintage classic devices
Full-latency compensation support
Module and Global presets
Multiple curves Fade In and Out (standalone only)
Multiple Snapshots, independent for each audio file (standalone only)
Supports sampling rates up to 192 kHz
Supports multiple input and output audio formats sampling rates and resolutions
High-quality sampling rate and bit depth converters
Single or Multiple audio files processing (standalone only)
DSM™ and SCC™ proprietary IK technologies for extremely accurate digital models of analog hardware devices
Native compatibility with 64-bit applications and operating systems
