T-Racks Vs. Ozone

[butter]

I use T-Racks on my mastering bus and I like it. But, I do trip-hop and funk. I would say that it definitly colors the sound but given what I produce I would say that it colors it in a good way. I don't know if anyone has mentioned it but your choice of mastering processors and procedures is dependant on the program material.

There isn't any single solution that's suitable for everything. I think that people need to assess their needs accuratly before making a decision as to what kind of processor they go with. For what I do I found Ozone to be too sterile and transparent.

[IK Support]

T-racks internal latency is 64 samples. And some host like Samplitude will let you manually enter the sample latency is the plug in doesn't report it.

[ResonantOrder]

T-racks internal latency is 64 samples. And some host like Samplitude will let you manually enter the sample latency is the plug in doesn't report it.

Thank you.

[diverdee]

Thanks for giving a definitive answer.
Any news on possible update that would allow T-racks to report the latency to the host.
Also is that the latency when the whole set is used (as on the mastering bus), or is that the latency of each individual plugin?

[ResonantOrder]

Thanks for giving a definitive answer.
Any news on possible update that would allow T-racks to report the latency to the host.
Also is that the latency when the whole set is used (as on the mastering bus), or is that the latency of each individual plugin?

Does latency on the mastering bus matter since all your audio will come before it? Just curious if there's an application to bus mastering that I haven't thought of. I had to read the statement a few times, but I think he's saying that the latency is for the individual plugs.

[diverdee]

yeah - if it's just the whole thing on the master that's cool, but individual plugs not reporting latency could potentially mess up mixes a little (especially if your a perfectionist), drum mixes etc. might start to appear a litle out of time.
Although it is only a few samples.

[Spaceman Sounds]

I really preferred the sound of T-Racks over Izotope, I found Izotope to be a bit harsh and digital for me.

I only stopped using T-Racks when I bought a Uad-1 card.

[Kim Lajoie]

yeah - if it's just the whole thing on the master that's cool, but individual plugs not reporting latency could potentially mess up mixes a little (especially if your a perfectionist), drum mixes etc. might start to appear a litle out of time.
Although it is only a few samples.

At 44.1kHz, 64 samples is just under one and a half milliseconds.

Forever,




Kim.

[diverdee]

like I said - only really a problem for perfectionists, but given that T-racks is perceived as relatively pricey, an update so that the plug ins reported any latency to hosts with pdc would be nice (one could possibly argue that it would even be considered standard now).

[Kim Lajoie]

Internal latency, yes... but it doesn't say whether the latency is reported or not.

T-racks internal latency is 64 samples. And some host like Samplitude will let you manually enter the sample latency is the plug in doesn't report it.

Forever,




Kim.

[diverdee]

aah, the original question was actually whether T-Racks had a certain amount of latency that wasn't reported back to the host.
The gentleman from IK makes referebce to the fact that one can manually enter the number of samples of latency in some hosts, so I would take it that means that T-Racks doesn't report it itself.
I don't have T-Racks, maybe someone who has it & a host that supports PDC & reports it back, e.g. Tracktion or SX could enlighten us as to whether it does report the latency.

[Kim Lajoie]

Latency is not reported. Cubase SX2.2, Windows.

Seriously though - I use T-RackS all the time on individual tracks and there hasn't been any ill effects. Like I posted earlier, 64 samples is just under one and a half milliseconds. That equivalent to the vocalist being an extra 45cm away from the mic in terms of timing, not in terms of sound. Same with other instruments. It's far from making an audible difference to the timing of a performance.

Even with multi-tracked drums, you've got those kinds of delays between the mics anyway. Now, if we were talking about a 10ms or 30ms latency, then we'd be in trouble... but 1.4 milliseconds isn't even noticeable.

Forever,




Kim.

[multree]

Latency is not reported. Cubase SX2.2, Windows.

Seriously though - I use T-RackS all the time on individual tracks and there hasn't been any ill effects. Like I posted earlier, 64 samples is just under one and a half milliseconds. That equivalent to the vocalist being an extra 45cm away from the mic in terms of timing, not in terms of sound. Same with other instruments. It's far from making an audible difference to the timing of a performance.

Even with multi-tracked drums, you've got those kinds of delays between the mics anyway. Now, if we were talking about a 10ms or 30ms latency, then we'd be in trouble... but 1.4 milliseconds isn't even noticeable.

Forever,




Kim.

yeah Kim is right.... I use it on almost all of my tracks while mixing... and there's no timing problems.... well none which are caused by T-RackS *gg*

goodnite everybody

[Kim Lajoie]

Just to clarify - the timing difference is equivalent to about 45cm at 44.1kHz. At 96kHz, it's .6 of a millisecond (600 microseconds). That's equivalent to the timing error caused by the mic being 18cm further from an acoustic source.

Forever,




Kim.

[kevvvvv]

squids

the comparison to the Fairchild isn't bull from the standpoint that IK does modeling and uses the circuitry and components of particular gear to make an algorhythm that acts like it in software and then they ear tune it to get the desired result.

Have you looked into the Kjaerhus approach to modelling classic gear?

Rather than simply model the in/out of, say, a Pultec eq, he models each discrete component inside the Pultec, producing a whole suite of algorhthms not unlike the electrical components of the original.

He then rebuilds them all back into a single eq device.

In this way the famous "Pultec overshoot" is produced.

See here for tech details http://www.kjaerhusaudio.com/aclm.php

The Golden EQ manual has more details on Pultec overshoot and why it sounds so good.

Kjaerhus' approach to analog modelling has helped define a new standard.

He makes other models look simplistic or long in the tooth by comparison.