There is a “Copy To” button, which allows one to save and compare up to four different processing chains per project. The Perceived Loudness indicator, part of the RMS meter, compares the loudness of the piece to a “Loudness Suggestion” based on the selected genre. Left and right channel peak meters, RMS metering, spectrum analysis, stereo phase and correlation meters. When used as a standalone application the lower half of the T-RackS interface displays a number of useful metering tools. Now, any one of its nine processors may be used individually, resulting in increased flexibility and reduced computing overhead. Previously, all of T-RackS had to be loaded just to use a single processor. T-RackS 3 Deluxe can be used either as a standalone application or as a plug-in with your host DAW. Tracks benefit from optical compression due to the absence of distortion and coloration sometimes encountered during gain reduction. The Opto Compressor, while not apparently modeled after any particular piece of actual hardware, offers noticeably more transparency than the Vintage Compressor Model 670. The Vintage Program EQ 1A is modeled after the sound qualities of the classic Pultec EQP-1A, well known for having excellent character and musicality. This feature is also included in the Vintage Equalizer EQ 1A, the Opto Compressor and the Classic Equalizer. MS processing is very handy in that it can allow one to pull the lead vocal or a specific instrument forward using the middle channel. The Vintage Compressor offers both stereo and MS (mid/side) processing. The sound it provides is exceptional, adding just the right touch of musicality and emotional character to the piece. The Vintage Compressor Model 670 emulates the classic Fairchild 670 compressor – down to the dials, meters, scuffs, scratches and rust streaks on the GUI faceplate. The Sat settings use various forms of saturation as limiting for increased color.Ī few words should be spent on limiting use: a louder master will inevitably be perceived as “better sounding” to the human ear, though as too much limiting is applied to a mix, the end result will be squashed, dynamic-less or even worse distorted, so care should be used when applying limiting to a mix in order to achieve a perfect balance between loudness and sound quality.Of particular interest in the Deluxe version is a new set of processors modeled after very expensive pieces of hardware from days gone by. The advanced settings introduce a mix of very smooth saturation and limiting resulting in slightly more punch and color compared to the clean setting. The “Clean” settings are designed to have the most invisible result on the program material, so that distortion will be minimal. The possibility to choose among a set of custom designed algorithms (or “Styles”) makes the Brickwall Limiter very flexible, so that it can be tailored to best suit the program material it's being used on. Just set the Output Ceiling and raise the input until the desired loudness is achieved. 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. 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. The principle behind this is basically the same of a compressor where the ratio is set to ∞ :1, so that no signal is passing over the threshold, and time constants are set for very fast attack and release. In audio mastering applications the limiting effect is used to raise the level of a track or mix, thus making it louder, by pumping more input level into the limiter and setting a “ceiling” threshold transient peaks will not exceed, avoiding any digital overs. Limiting is used in audio production to reduce the dynamic range of a track or program material.