Re: Ik Multimedia T Racks 3 Deluxe Keygen Software
Lili Sysyn
T-RackS 3 Deluxe is the flagship mastering product from IK Multimedia. Billed as a considerable improvement on the previous version of T-RackS, T-RackS 3 claims improved metering, plus upgraded modules from T-RackS 2, and offers 5 new high-end signal processing modules. So What exactly does the deluxe version offer, and is it a worthwhile investment for your hard-earned money when compared with the T-RackS 3 Standard Edition?
A couple of months ago I reviewed T-RackS 3 Standard Edition for Songstuff. As the basic interface, much of the functionality and the classic modules found in the standard edition are also used in the deluxe edition I would point readers to the review of T-RackS 3 Standard Edition for information on installation, the basic interface and the classic modules while in this review I will focus on the new modules.
I began the review using the stand-alone version before progressing onto using it as a VST via Sonar. I decided to work on mastering one of my tracks and see what I could really do with the deluxe modules.
T-Racks 3 Deluxe Edition contains five brand new processors plus the upgraded version of each of the four original T-RackS modules also included in the Standard Edition. All module processors and metering are available as individual plug-ins for use from within your DAW and for use within the stand-alone T-RackS 3.
The five new modules include two modules modelled on specific analog gear, the Fairchild 670 valve compressor/limiter and the Pultec EQP-1A valve equalizer, and a generic model of an analog-based optical compressor. The final two processors introduce digital limiting and sympathetic EQ algorithm-based digital processing nicely complimenting and making up for the control limitations of the three analog models.
Based on the famed Fairchild 670 compressor/limiter. The Fairchild 670 uses two independent limiters to act on either the left and right channels or to act on the lateral and vertical (sum and difference) components of the two stereo channels. The rich, warm sound that you get from a 670 is down to the tubes and the transformers unique to this unit. It is ideal for anything from individual instruments to use as a stereo bus processor.
I used the 670 on individual tracks and on mixes and generally, I was happy with the results. Sound-wise it was pretty convincing. Here IK has taken a purist approach, without aiming to improve upon the original. As a result, any issues I did have were similar to those I would have found using the original unit. While that is a good thing in many ways, perhaps some improvements upon the 670 control interface would have made this an even more useful unit.
Based on one of the best program EQs, the highly desirable Pultec EQP-1A. The module gives warm, rounded and quite authentic sound. Hardly a precision processor the EQP-1A uses push-pull technology to create an EQ shelf, and what it does, it does well. Yet again the Vintage Tube Program Equalizer works as a Stereo or MS processor.
One strange thing I noticed when using the Equalizer modules was that the shape of the EQ curve was only updated once the play button was pressed. The cut-off point markers moved on the module screen showing where the cut-off point was and the degree of cut or boost applied but the actual curve itself would remain unchanged. True, changing EQ settings almost always occurs during playback, however, when initially setting up using information from a spectrum analysis it would have been nice to see the curve updated. Maybe that is just me.
T-RackS 3 Deluxe Edition comes with an additional set of presets on top of those presets included in the standard edition. Weirdly I found some of these less impressive in terms of making an out-the-box improvement to a track in comparison to the standard edition presets.
Standalone mode provides access to snapshot automation, very basic audio editing features. I found the audio editor a bit awkward and pretty limiting in some ways. Snapshot automation allows you to set up to 9 different snapshots that you can use at any point in the timeline of a song. You can load multiple audio files, preview them with all-independent settings and then processes all of the files with a single click, which is handy when you want to process an entire album with the same mastering treatment.
Within your DAW both T-RackS 3 and each of the component modules are available as separate plugins. Included in the help file are detailed instructions on how to load T-RackS into the main DAW applications.
There are no audio editing or snapshot modes available when you use T-RackS 3 as a plug-in. Using the DAW allows you to use the automation interface which is extensive and configurable. T-RackS 3 allows you to assign up to sixteen T-RackS parameters to be controlled by a specific DAW parameter.
If you want to build upon T-RackS 3 Deluxe Edition, you can add on the ARC System as a plug-in, launched using a dedicated button on the T-RackS 3 interface. The ARC System is an acoustic correction system, developed with specialists in the area of sound equalization, Audyssey, for the purpose of correcting distortion caused by room acoustics.
Where I think T-RackS 3 Deluxe Edition really scores against the competition is in the fact that it is a well-balanced mastering suite, combining several very useful, quality processors. The deluxe version, in particular, provides a breadth of quality processors each with distinctive characteristics, allowing even more variety and subtlety to be achieved in the mastering process.
Is it worth the extra money to get the modules not included within the Standard Edition? Well, the modules are certainly useful additions adding more flexibility on top of the standard version, at least in terms of the actual processing available. The new modules do introduce a further degree of control but then the price difference is quite large (more than double the price of the standard edition at the time of publication) and that for me is the main drawback. Despite that, it is still certainly worthy of serious consideration and it would be a welcome addition to many studios.
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An alternative to bare metal racks, Audio Visual Furniture has developed a complete line of deluxe AV rack enclosures. Front and Rear EIA compliant racks are available in 3 sizes, 12 RU, 16RU and 21 RU units. These mobile racks have locking tinted acrylic front and solid laminate rear doors which allow better access to your electronics than previous AV-series designs. It features:
Mickey Mouse began life in a steamboat. Mighty Mouse just flew around. Danger Mouse inhabited a red phone booth. Basil lived on Baker Street, and Jerry sneaked into a hole in the wall, hiding from Tom the cat.
But at Harvard, mice are treated in a far more deluxe fashion. A $1.6 million facility currently under construction in the Biological Labs will hold approximately 11,000 of the small furry rodents and attend to every want from decor--the halogen look--to health concerns--the facility will be completely virus-free.
Flourescently-lit hallways branching off into rooms for cages are painted a pristine white--any chips or cracks in the paint would make the facility fail frequent inspections--and, once the facility is operational, no one will be able to enter except through a disinfecting "shower lock."
These arrangements are not left to chance, either, according to Ciotti and Faculty of Arts and Sciences (FAS) Director of Animal Facilities George P. Deegan. Claustrophobic mice will receive get no special dispensations, since the space between cages is strictly mandated, as is the size and type of wire and number of mice per cage.
And neither will gourmand mice will have any fun: No hamburger option for them. The only nutrition they'll receive is a high-class "prepared irradiated mouse diet" prepared to keep all mice healthy and free of infection.
And like the Starship Enterprise's hidden control rooms, there is a huge amount of machinery--though apparently no warp drive--involved in maintaining the artificial world of the 11,000 furry animals.
The facility will be kept at exactly 70 degrees Fahrenheit and air must be circulated through it 15 times per hour--compared with most offices' 1.5 air changes per hour. The tangles of wires, pipes and engines involved are kept hidden.
Even the cleaning of the cages will be strictly regulated. The racks will be washed on an exactly 180-degree rinse cycle, and all 3,500 cages will be cleaned twice a week. "You could drive a Toyota in there," Deegan says of the rack-washing room.
The building process is made even more complex by the location of the facility, according to Ciotti. An existing Bio Labs greenhouse had to be demolished and two new ceilings--one below the mouse house-in-progress and one above it--built. On top of the upper ceiling, a new greenhouse is being constructed.
And for researchers whose delicate experiments depend on such a facility and the rodents it supports, such delays are no joke. McMahon and Robertson must commute to the larger Medical School mouse facilities in Boston, which house 30-40,000 mice.
The two professors were tenured as a team in the spring of 1992, and a new mouse facility on the FAS side of the Charles River was definitely part of the package, McMahon says. "Neither of us of course would come unless there was a first-class mouse facility," he says.
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