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T-Racks is IK Multimedia’s signature mixing/mastering suite. They’ve upped their game once again with version 5. How did they do? The results are … ahem … sweet!

1. T Racks 5 Deluxe
2. T Racks 5 Vs Waves
3. T Racks 5 Review

1. T‑RackS 5 comes in four flavours. The free T‑RackS Custom Shop includes the Classic EQ module and an in-app store where you can buy further processing options individually, while the paid-for T‑RackS 5, T‑RackS 5 Deluxe and T‑RackS 5 MAX come with bundles of nine, 22 and 38 processors respectively.
2. Subscribe and join ADSR Youtube: Sounds: 5 has evolved into the most powerful mix and master modu.

by David Baer, Mar. 2018

This article looks at T-Racks 5, a recently-released new incarnation of one of the flagship product collections from IK Multimedia (hereafter IKM). T-Racks 5 has components of use in all phases of the music production process, and most of these components are plug-in modules that can be individually used inside all major DAWs in both the PC and Mac worlds. However, I am going to focus here on mainly the framework aspect of T-Racks 5. I will spend a little time discussing four new plug-ins that are part of the release, but we’ll mostly be concerned with the framework. As such, we’ll primarily be looking at T-Racks 5 as a mastering tool, which was its initial raison d’être. Let’s start by taking a brief look back to see how we got here.

A Brief History of T-Tracks

T-Racks goes back almost two decades. The first version came out in 1999. Naturally, it was quite primitive by today’s standards. Its purpose was mastering only, and it had only three processors: an EQ, a tube compressor and a limiter, plus it offered a rudimentary metering capability. It only operated in an autonomous, stand-alone mode.

If there was a version 2 of T-Tracks, its introduction must have been very subdued. Using google, I could not find a single reference to it anywhere on the web. It was not until I got to version 3, introduced in late 2008, before I managed to pick up the trail once again. But version 3 was a major release, and from there on the history is much easier to track. Also, version 3 was where T-Racks entered my life, and I’ve been an enthusiastic user ever since.

T-Racks 3 took on the form to which we have become accustomed. It was comprised of nine processing modules, a comprehensive (for the time) utility metering capability, and finally a framework into which the modules could be run for mastering purposes. The framework allowed for eight consecutive slots, the first four being dual parallel slots, into which the T-Racks modules could be placed as desired (see image just below).

Individual modules could be zoomed in upon for settings. This framework also provided for a metering utility suite. In standalone operation, multiple files could be loaded for mastering, and this was an excellent way to prepare multiple tracks for CD release, being able to easily hear tracks in relationship to one another and to experiment with ordering the tracks. You see all this in the next image.

With version 3, the modules were standard plug-in formats and could be individually used in most PC and Mac DAWs, so T-Racks outgrew its original mastering-only charter and its modules also became of value in mixing work. This was the T-Racks structure that has come down to us largely intact in the new version 5.

Posted on May 24, 2021. T-RackS 5 Complete v5-5-0 WiN-MACCierra los ojos e imagina una tienda llena de equipos de procesamiento interesantes y potentes incluyendo compresores, limitadores, reverberaciones, de-essers, procesadores multibanda y un estante lleno de emulaciones de legendarios equipos vintage. T-Racks 5 Deluxe includes an additional 13 modules and T-Racks 5 MAX an incredible extra 29, bringing their totals to 22 and 38 modules respectively. If the larger bundles are a bit over your budget, the Custom Shop is there to allow you to buy individual modules whenever you want to.

The nine modules consisted of three different compressor models, three EQ models, two limiter models and a clipper. Interestingly, one of the compressors and one of the EQs were modelled on revered vintage gear, the Fairchild 670 and the Pultec EQP-1A. These would be the first of many vintage-modelled T-Racks plug-ins to follow.

The offering of standalone modules here was not something new to IK Multimedia. In 2006 they released a quartet of reverb plug-ins, the CSR series, which could be used within various hosts.

But things were just getting started. In 2012 we saw the introduction of the Black 76 and White 2A compressors, an event that generated a fair amount of excitement in the music forums. Much more was to come.

So, the next logical step would have been T-Racks 4, right? Well, I challenge anyone to find any information of substance on version 4 via internet searching. I tried and totally failed. Plus, being a T-Racks owner by that time, I think I might have noticed this happening.

Instead, in 2013, IKM introduced T-Racks CS (CS for Custom Shop). This was an approach to selling software gear that involved an IKM-custom mechanism using a web site, special IKM gear currency, and more. I won’t get into whether I think this was a good thing, but I will observe that IKM has been the subject of more than a little criticism in the music forums in recent years regarding this chosen method of selling plug-ins.

In any case, I suspect that T-Racks CS was effectively version 4. And more modules began coming all the time. There were (if I counted correctly) 34 available right before T-Racks 5 hit the shelves, and the T-Racks 5 release added four more new ones.

T-Racks started as a mastering solution, but over time, its collection of component modules also embraced mixing. We saw two models of channel strip added to the collection at one point, and these would not normally be thought of as mastering tools. A tape delay module was also added, and this definitely would not be considered a mastering tool. More recently, we’ve even seen T-Racks venture into the recording phase of production, with their Mic Room microphone-modelling tool. So, today we have a mostly excellent collection of audio processors for all stages in the production of music for distribution.

The Arrival of Five

This brings us up to the present. The newest T-Racks version is mainly about improvements to the overall infrastructure. Yes, there are four very fine new plug-in modules as part of the package (five if you count the much-improved metering), and we’ll look more closely at those in a moment, but the main emphasis at this point will be on the infrastructure.

What do I mean by “infrastructure”? Let’s define a few terms to keep us all on the same page. T-Racks 5 has a standalone application that operates outside of a DAW – we’ll call this “the application”. It can host modules in the T-Racks collection, modules that can also be directly hosted in any major DAW. We’ll call these modules “plug-ins”, and any use of that term will imply that the module is a member of the T-Racks plug-in collection. The application has embedded metering functionality, but the metering function can be floated in its own window and a metering plug-in that can be hosted directly in a DAW is provided. This is the “metering plug-in”. Finally, the application framework has a scaled-down version that can be hosted in a DAW and can itself host plug-ins. This will be called “the framework plug-in”.

Let’s start with the application. This is dedicated solely to mastering pursuits, and it sports a new “audiophile grade audio engine” (those are IKM’s marketing words) that supports audio rates of up to 192 kHz. The signal flow is 32-bit floating point, although no doubt some of the plug-in processors expand that to 64-bit when high-precision calculations are required. There is also a stated improvement in the internal resampling engine that will reduce inter-sample clipping overshoots.

The application window (shown just below) allows the insertion of up to sixteen plug-ins; there are eight slots which can be filled with two plug-ins in parallel. A full screen image of the currently selected plug-in is seen at the top. Slots are filled with simple drag and drop, and can be reordered similarly. The area in the lower right is where modules are picked up for insertion, but individual plug-in presets (upper left) can also be the source for insertion. Presets for full chains are also provided, useful for mastering, but probably even more useful for mixing use of the framework plug-in.

This is where I must voice my one major complaint about T-Racks. Since T-Racks CS, even when we want to acquire just a single plug-in, we have all available T-Racks plug-ins downloaded, including all the ones for which we have no license. These show up in the available-module list here and you will also find them in your DAW’s FX insert list. So, you bought one of the vintage EQs two years ago. Let’s see … was it the EQ PA, EQ PB, EQ PC, EQ 73, or EQ 81? If you don’t recall, you must waste time poking around to figure out which one you have. But let’s move on.

Navigation around T-Racks 5 is intuitive and easy. You can probably figure out how to do it without even reading the manual, but if you have a chance to watch an introductory video (there’s a very good one available from Groove 3), you can hit the ground totally running.

The bottom area can swap a display of the insert chain with a display of the current track’s waveform. DAW-like automation is not possible, but snapshots can be inserted at any point to preserve setting changes mid-track. This is the equivalent of automation except that gradual changes in setting values aren’t supported. In the tool bar at the top are the buttons A through D. These can be used to save full chain settings for easy recall and comparison. To the right of those buttons is another button with an equal sign. This forces equal gain output when doing setting comparisons.

The application can be loaded with multiple files, a usage mode tailored to album production. Track metadata can be entered that will be retained in industry-standard DDP (Disc Description Protocol) that are optionally produced when doing an export.

A floating assembly window is available for album organization. CD-playback characteristics like pauses and fades are accommodated. You can also direct multiple track markers within a single audio clip, useful if mastering a live concert performance for publication.

Next is the metering, seen in the application UI in the upper right. The main new feature is support for LUFS loudness monitoring. More metering types are present, of course, and these carry forward much of what was present in T-Racks 3 metering. But there are visual improvements and enhanced configurability. I particularly like the four VU meters that simultaneously display left, right, mid and side levels. As with T-Racks 3, there is also the option to display a recommended range for various musical styles. Based on previous experiences with this feature, which I found led me astray on more than one occasion, this is the only thing I’d caution against.

The compact metering display in the framework window can be undocked for use as a floating, resizable window, seen just below.

About the framework plug-in, little need be said. It is a scaled-down version of the application, with all the bits that make no sense when hosted in a DAW omitted. Mainly, it allows for the creation of effect chains that can be saved and reused as presets. It will also support so-called New-York-style compression. Like its big brother, the application, non-IKM plug-ins cannot be inserted.

The Plug-ins

Let’s start with some generalities. We will defer most discussion of purchase options (there are enough to make this more than a trivial decision process) until the end of this article. For now, let’s simply define to what we are limiting this discussion. A basic purchase of T-Racks 5 will get you nine plug-ins. Four of these, the classic EQ, classic compressor, classic clipper, classic limiter have long been part of the T-Racks base package and they may reside on your DAW already. Four new modules include a superb mastering EQ, an excellent compressor, and two other processors that cannot be described with a simple designation like “compressor”. Finally, there is metering plug-in that significantly improves on its T-Racks 3 predecessor. If you already own T-Racks, or you bought any T-Racks modules separately, you will also have all of those plug-ins available for use with T-Racks 5.

One thing new is T-Racks 5 is the availability of VST 3 format in all the plug-ins, not just the new models. Unfortunately, the VST 3 forward progress did not come with external side-chaining in any of the compressors. Granted, such a feature is completely unnecessary for mastering activities, but certain compressors would be much enhanced with this feature (I would pick the Black 76 as a great candidate for such an enhancement). Hopefully something along these lines is on IKM’s to-do list.

The new compressor does not have an identified pedigree, but given the UI similarities and name, it probably is inspired significantly by the Manley Dyna Mu compressor. We don’t need to say a lot about it. It sounds wonderful. It’s got a choice of two ratios: 1.5:1 and 4:1, the former being quite suitable for mastering. But you may find it something you’ll want to pull in on tracks in your mixing pursuits. It makes a splendid addition to the existing T-Racks compressor family.

The plug-in simply called “EQual” is a most impressive EQ with a compelling feature that also might be its biggest detriment, at least to some. This is a very accurate digital EQ that can be resized to full-screen for precision adjustments. The compelling feature is EQual’s ability to take on the characteristics of both classic and modern real-life hardware EQs. For the bell-type band, we have the following choices:

• Standard
• UK Classic 1 (SSL 4000 modeling)
• UK Classic 2 (SSL 9000 modeling)
• UK Modern (Neve 1073/81)
• US Classic 1 (API 550A/B)
• US Classic 2 (API 560)
• TRacks Classic

So why is this wonderful capability a potential detriment? Well, for those of us who find EQ-ing decisions already challenging, now there’s an entirely new dimension to the puzzle with which to contend – welcome to the world of analysis paralysis!

Like numerous other T-Racks plug-ins, EQual and Dyna-Mu can operate with common L/R settings, separate L and R settings and separate M and S (mid and side mode) settings.

The new ONE mastering processor is unique, not just among the T-Racks world, but maybe just unique period. It combines a number of common mastering operations into a single module, with one knob per operation. For quick and easy mastering (maybe for burning that trial mix demo to listen to on the car stereo) or for those just learning mastering skills, this could be just the thing.

The nine areas of manipulation are:

• Air – attenuates/boosts high frequencies
• Focus – attenuates/boosts mids
• Body – attenuates/boosts low frequencies
• Bass Punch – just what it says
• Analog – saturation for warmth
• Transients – make it snappier or mellower
• Width – just what it says
• Push – generalized one-knob compression
• Volume – generalized one-knob limiter

I don’t claim any expertise in the mastering realm, but I found immediate comfort when just playing around with ONE. Better still, for neophytes, audition the dozen or so presets and pay close attention to what works for you and what doesn’t. You may well learn some valuable tricks. As the user manual recommends: Just turn its knobs, experiment and hear the mojo.

ONE is billed as a mastering processor. I won’t be at all surprised if it starts turning up on more than a few tracks for mixing manipulation.

The final plug-in in the list of new modules is Master Match. Like any number of available matcher effects, Master Match can learn frequency spectrum characteristics of reference audio and match it. If I’m not mistaken, I’ve already got three such effects on my DAW. But Master Match does something the others don’t. It also learns and matches dynamic levels. Furthermore, it allows one to specify the extent to which both spectral (EQ) and dynamic matching is to be individually applied.

You may have it learn some audio and save the data as a preset, so it can be very easy to use. Not only that, it can be quite easy to load several of your presets (or one of the factory supplied Master Match presets) in order to quickly find a sound quality that you’re intent upon achieving.

If you use Master Match within the application, it must be in the rightmost position of the chain (implying there’s an undocumented limiting function in service as well). Experienced mastering engineers will probably look at using this kind of approach with some contempt. But, hey, give it a try. As we always like to say: if it sounds good, it is good.

Advanced Room Correction

Although it’s not an official T-Racks component, IKM’s Advanced Room Correction, more commonly known as ARC, not only integrates with T-Racks, but can be a critical aid in improving the accuracy of the room in which you do your mastering. So, it’s deserves a bit of a shout-out here.

Have you ever been in a professional, high-end mastering room? The one I got to see had two front speakers the approximate size of refrigerators. The price tag of these was a six-figure number in US dollars – and that’s for just one, not the pair. But probably more importantly to everything but the budget, the room itself was treated to the full extent possible to avoid resonances and other audio maladies that would make the mastering engineers job guesswork.

If you are mastering in a home-studio environment, you might actually even have pretty decent monitors (albeit a great deal less expensive that the ones I just mentioned). You might or might not have worked on your room with various sound treatment techniques. But very few of us with home studios have full coverage on that front, and many of us have little or none at all.

Enter ARC. It does not eliminate the benefits of acoustic room treatment, but it can definitely improve a less than ideal situation, sometimes to a substantial degree. The user of ARC first captures a set of room audio measurements using an ARC-compatible microphone (supplied with the product). The software can then be used during audio playback to apply both EQ and phase adjustments to the signals sent to your monitors. In theory, this should not work all that well. But count me among the many ARC users who are firmly in the happy camper contingent (and there are more than just a few of us).

Why this is particularly relevant to T-Racks is that T-Racks seamlessly can integrate ARC into the application processing. For T-Racks 5, one must have the latest version of ARC (version 2.5), but otherwise, it’s totally effortless. The nice thing, as opposed to using ARC in some DAWs, is that you do not need to remember to disable ARC when doing an export. It applies its magic only to the signals going out to your audio interface, not to what you are exporting.

So, bottom line: consider using ARC, both for mixing and mastering. In fact, I would suggest that you consider it an essential part of a mastering rig in all but the most decked-out home-studio setups. The normal price for ARC is $199 USD, but some very good sales have been known to happen.

One shortcoming in T-Racks is that, although ARC can be seamlessly integrated, a headphone-correction capability cannot. Headphone correction packages are becoming increasingly common. The primary user base for T-Racks is comprised of home studio producers, many of whom must use headphones a good deal of the time. If IKM doesn’t want to integrate headphone correction into the platform, then it should open up the platform for third-party solutions.

DAW or Dedicated Mastering Platform?

An obvious question will occur to those embarking on the first attempt at mastering. If you’re a home studio producer, there’s a good chance you are mastering your own mix, in spite of copious advice to the contrary. Hopefully this will at least be after a little break after finishing the mix so the material can be freshly heard. Some of us would ask ourselves: why don’t I just throw my mastering chain on the master bus and simply continue in the current mix project?

This is probably not the best approach for many of us. True, it provides the convenience of easily dropping back into the mixing phase to deal with any problems that become evident in the mastering. The downside to that is that it provides the convenience of easily dropping back into the mixing phase to deal with any problems that become evident in the mastering. Blessing or curse? You decide.

If you do want to do this work in your DAW, you are probably better served by exporting the mix as a stereo file with at least a 24-bit depth and create a fresh project for mastering. That will keep you from the perils of looping through fix-the-mix, fix-the-master, rinse-and-repeat cycles. The one huge advantage in mastering in your DAW is the ability to use whatever mastering software modules you have available. If using T-Racks, it’s IKM modules all the way, no substitutes.

However, a DAW mastering session will make one aspect of the job all but impossible. If you are working on a multi-track project, checking sound consistency between tracks in a DAW setup is messy at best. This is something a tool like T-Racks was designed from the ground up to do. So, don’t be reluctant to leave your DAW behind when the mastering phase begins.

Mastering with T-Racks Components

What is mastering anyway? I know many of the T-Racks plug-ins quite well from using them as track inserts in mixing. I don’t claim any significant experience in mastering other than having done a fair amount of study, but I do know enough to say that the one thing common to pretty much all mastering is the goal of optimizing the product (the musical content) to the distribution medium (CD, streaming, vinyl, broadcast).

Vinyl requires particular care, given that it has a vastly reduced dynamic range compared to digital distribution, and that it requires energetic low-frequency audio content to be centered so that styli won’t be tossed out of record grooves.

With streaming-service distribution, we have a variety of similar targets for loudness (but targets that are not standardized across the industry). Conform to these or the streaming service will do its own thing, and probably do it in a way you won’t appreciate.

CD and higher-end digital distribution options like DVD-Audio allow the most freedom to strive for an ideal final product. But then there’s also the loudness-wars dilemma, which for some mastering pursuits is a necessity to accommodate. However, in the absence of preparing cannon-fodder for that monstrosity, another common aspiration in mastering is to “first do no harm”.

Most conventional mastering wisdom states that considerable moderation is what’s normally needed. EQ boosts or cuts of more than 3 dB may indicate the material should be returned to the mixing engineer for correction (admittedly, for most home studio producers the mixing engineer and the mastering engineer are the same person). Likewise, compression of more than a few dB is probably not the right way to go. And far more often than not, with the exception of adding a very modest amount of warmth via saturation or another technique like using vintage-modelled compressor or EQ processing, all the components involved in the mastering chain should be pristine with respect to unwanted signal coloration. The exception to absolute moderation is gain adjustment. Here we normally just shoot for the target loudness. This can be helped a little with the use of a limiter, but hopefully not overdoing it (loudness war casualties aside).

So all this boils down to the question we should be asking here: can T-Racks get the job done? The answer is not only a resounding “yes”, but I think T-Racks can get the job done across a wide range of quality goals.

On the light end, just using ONE and/or Master Match can go a long way toward refining your sound to approach that of professionally-mastered material. Will it equal what a qualified, golden-eared mastering expert could do? Not very likely, but meaningful improvements are possible. And we home studio producers are rarely in a financial position to hire that golden-eared, quarter-of-a-million-dollar-monitors-owning professional.

At the other end of the spectrum is the use of T-Racks to produce something that rivals, if not equals in quality, what can come out of a high-end mastering studio, assuming the user of these tools has the skill to properly use them. I would suggest that T-Racks is up to the challenge.

Now, to achieve this lofty goal, the T-Racks configuration does not need to include the full list of components, but there are some I would suggest are mandatory that must be added to the basic bundle. EQual, a part of the base T-Racks 5 package, is a great place to start for EQ and it might be all you need, but the lovely Master EQ 432 may be another great option to have at hand. Some experts will suggest that linear phase EQ is the way to go in mastering, and if you agree, you’ll need to have the T-Racks Linear Phase Equalizer at hand. Finally, for a sprinkling of vintage fairy dust, the EQP-1A Vintage Tube Program Equalizer is a great thing to have in your box of tools. The EQ-PB and EQ-81 might also be welcome additions. But for all of that, EQual by itself should get you a very long way down the EQ road.

For limiting, I think the solution is easy. You will want the Stealth Limiter. You might also need the Classic T-Racks Clipper, but that’s not truly a limiter. Stealth is one of the most transparent, musical and downright gorgeous sounding limiters I have ever heard. I would assert that it’s mandatory here and I wouldn’t bother with anything else.

For general compression, the Dyna-Mu, again part of the base T-Racks 5 bundle, is a great start. You probably will want a few more choices, and among these I would place the White 2A Leveling Amplifier and the Bus Compressor at the top of that list. For a vintage vibe, throw in the charming Vintage Tube Compressor/Limiter model 670. Budget permitting, also add the Precision Comp/Limiter.

Multi-band dynamics processing will hopefully be unnecessary for most mastering jobs, but if that need arises, T-Racks does offer the Quad Comp Multi-band Compressor and the Quad Lim Multi-band Limiter.

The one multi-band module I would suggest is mandatory is the Quad Image, which offers a four-band stereo width control capability. It’s not uncommon to want to narrow the soundstage for lower frequencies leaving mids on up untouched (or even made wider). This is the only tool in the T-Racks collection capable of this.

Need de-ssing? Ideally throw it back to the mix engineer for cleanup. If you can’t, then there is the De-Esser module in the T-Racks lineup.

Lastly, there’s sometimes the need for adding a little warmth. ONE does have a function that accomplishes this, but there’s no control over the saturation type other than how much to add. For this, Saturator X is what’s really needed. Of course, Saturator X can ladle in buckets of grunge when that’s the goal, but it also offers a variety of sweetly-subtle saturation choices: tape, tube, and much more.

And there you have it: a complete mastering capability on your home-studio computer. That was the easy part. Now what’s needed is the skill with which to wield it.

Is T-Racks 5 for You?

It is rarely easy to lay out a comprehensive set of purchase options for IKM software, and T-Racks 5 is certainly no exception. But forget sales and group buys for the moment. There are three options for purchasing, all of which contain the application framework and a core group of nine plug-ins: basic package at list price of $150 USD, Deluxe package (thirteen additional plug-ins) at $300 USD list price, and Max (twenty-nine additional plug-ins) at $500 USD list price. But IKM has frequent sales, so at the time I’m writing this, the respective prices are $150, $200 and $300. In this sale you may buy Deluxe with gear credits or cash, but gear credits don’t cut it for Max.

Actually T-Racks 5 CS, which is free, is another option. It gets you the basic T-Racks 5 application framework, and (if I’m not mistaken) one of the older EQ plug-ins. However, if you already own some T-Racks plug-ins, the download will give you access to the new versions, including the VST 3 versions if that’s what is requested. The new versions are distinguishable from the old in that the names all start with “TR5”. However, the resizing capability only kicks in when you buy one of the non-free packages.

The current sale prices are pretty attractive for new customers who have purchased little in the way of T-Racks plug-ins in the past. There are no really compelling deals for customers who have accumulated a good number of them, however. IKM has dropped the ball in this area, in my opinion. Loyal customers should have been given a better purchase option, because none of the current deals make much sense for the veteran T-Racks plug-in collector.

For newcomers, both Deluxe and Max are very attractive. However, some of the real gems are only found in Max. In particular, Stealth Limiter, Saturator X, Bus Compressor, Precision Comp/Limiter and EQ 432 are not included in Deluxe. The inclusion of those modules alone make the extra $100 (in current sale) an easy decision point.

So, what’s the owner of a nice, but incomplete, collection of T-Racks plug-ins to do? One answer: hope for a group buy in the near future. I collected a good many of my T-Racks plug-ins in a couple of group buys (these happened about two years apart, the last one being sometime in 2017). In both group-buys, I got six plug-ins for the price of one. If one of these events comes along, you could end up being grateful for having signed on. Just be sure and pick the most expensive plug-in as the first one. The extras you can select must be of an equal or lower price, and once chosen, you may not change your mind.

T-Racks 5 is a marvelous evolution of what was already a solid piece of computer audio technology. I look forward to working with the new modules in the future, and getting to know some of the classics a little better as well. Lots of companies are making excellent mixing and mastering software these days, but IKM is certainly one of them. T-Racks rocks – check it out.

For more information, go here:

IKM products are also sold by numerous on-line and brick-and-mortar retailers.

T-RackS 5 is said to be the most powerful modular mix and master system ever, offering incredible versatility with 4 all-new processors for a total of 38 high-quality modules.
The new version includes a new completely redesigned, resizable interface in a flexible 16-processor series/parallel chain with an unrivaled audio engine, a complete broadcast-ready professional metering section, as well as an album assembly section with multi-format export.
IK Multimedia has led the way in mixing and mastering software since it created T-RackS in 1999, evolving and expanding the collection while setting an industry standard for some of the world’s best sounding plug-ins for professional applications. It’s no coincidence that thousands of top-charting records have been made using T-RackS.
Now T-RackS 5 has been re-mastered to be more powerful than ever, providing everything necessary to take raw mixes to a perfect finished product ready for digital delivery or CD duplication.
T-RackS 5 features
4 new processors (Master Match, Dyna-Mu, EQual, ONE).
Completely redesigned, flexible and resizable interface.
Ultra-rapid, flexible and smooth workflow.
A total of 38 high-end modules: available à la carte or via carefully selected bundles.
Unique modular chain system with 16 series/parallel slots.
Improved audiophile-grade audio engine.
Up to 192kHz / 32-bit floating point processing capability.
4 optimized user-selectable dithering options.
Extensive calibrated metering for multi-standard, broadcast-ready and future proof masters.
Album assembly with sequencing and metadata embedding.
Multiple file format export function.
64-bit native support.
Standalone workstation, plugin suite and single plugins for Audio Units, VST2, VST3 and AAX formats.
Requires macOS 10.7 / Windows 7 or later.
What's new
- 4 new processors available for separate purchase: Master Match, Dyna-Mu, ONE, EQual
- Resizable*, redesigned interface and plugin GUIs
- Expandable broadcast-ready metering suite*
- Floating meters option*
- Chains of up to 16 processors
- Album Assembly section with waveform editing and metadata*
- Enhanced audio engine
- Up to 192 kHz/32-bit floating point*
- 4 dithering algorithms
- Equal gain option*
- Signature presets from the industry's top engineers*

T Racks 5 Deluxe

* Features available by upgrading to T-RackS 5, T-RackS 5 Deluxe or T-RackS 5 MAX. T-RackS 5 CS supports projects up to 48kHz and features basic metering functions. Presets require specific modules which might not be part of this version of T-RackS 5. You can however download any processor for FREE and test them for 14 days before purchase.
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T Racks 5 Review