T-RackS Buss Compressor

[KevWestBeats]

Anyone tried this thing out? Ive been thinking about getting The Glue or the NI Solid Bus Comp, but this looks like it might be a bit of a contender. Its also on sale now (at least with IKs weird credit system). Any thoughts?

I've used all 3. They are all good but to me the Solid Bus Comp is no where near as good as the IK Bus Comp or The Glue. Also look at the 8CDC by Klanghelm. You cannot go wrong with any of these compressors.

[ObiWonder]

Thanks for the in depth reply. I'm still new around these parts, but I've read some of your other posts and it defenatly seems like your one of the local athorities on what's good and what's not.

I have been demoing it against the glue, as have been getting some really good results.

I wish the demo were longer, but at this price I might just har to go for it.

no no no i am not at all.. remember i have one sided deafness (100% loss on one side) so i hear, well i guess everything, different to others. I just hope my opinion is valid but the authority on comps is bmanic. Shy knows his stuff but he is very critical of everything LOL but he's taught me a lot. Brok knows a lot about comps too. I mean we all have an opinion as such and some very knowledgable people here but when i decide whether i like something or not, i THEN go and look at bmanic's opinion.. I make my own first of course, but he's the one "i trust" with these things so to speak. Look recently with the FC70 topic, he brought up something about the transients that's changed alot of me in the last few days.. actually that topic is a good read IMO.

Anyway do let us know what you decide. cheers, T

I had no idea, do you find yourself mixing in mono or stereo more?


Either way whichever you pick, shoot it out against the T-Racks Bus Compressor and let your ears decide.

in my studio room in stereo., i just turn my left ear to face both speakers. It works cause my keyboard is to the right of me which means when i turn to play, with the way i have things positioned, my left ear is precisely in between my two monitors. If i have to use headphones which is rare, i'll sum to mono using the waves zero latency version of their phase tool which has a mono monitoring button. Uses like 2% cpu and just sits on the master for when i need it.

That is awesome, your workflow works in your favor! Do you have any pics of your set up?

[AC222]

Has anybody checked this out?

Glad to see there's a recent shootout.



Honestly, I am liking the T-Racks version the best by far. The NI Solid Bus sounds a little plastic to me. The Waves sounds a bit flat (2d), a lil plastic, and harsh. The IK version sounds smooth, analogish to me. I wanted to dig the Slate version but with all that nonlinear hype, it seems like it adds some kind of fake sheen that I'd rather do without. The T-Racks sounds organic, doesn't squash your dynamics like the waves, and very natural sounding. It's got some nice character but isn't overpowering. The Duende is nice but its got some fake sheen sound on it that I'd rather do without. The Glue. Meh.

I'm surprised that these T-Racks compressors aren't getting more hype. Late to the game maybe?

I'm still on the fence whether I want to burn my credits on this one. I'm very much interested in the 33609 comp as well. I'm afraid I might like it too much....

[ObsoleteAcc99]

[DELETED]

[Peter - IK Multimedia]

I'm still on the fence whether I want to burn my credits on this one. I'm very much interested in the 33609 comp as well. I'm afraid I might like it too much....

The new unit (Precision Comp / Limiter) is clearly, to me, the best we've done - so was the Bus Compressor before it. Not surprisingly I reach for the new one now, but also before its release the standouts to me are Bus Compressor, White 2A, Black 76, Model 670, and Opto Compressor. Program EQ and British Channel come down the line a lot too, and then for general use the original EQ and I think our Brickwall Limiter is one of the best out there. Those can get you by on most projects, at least for me and then the Quads and Linear Phase EQ are especially good for times you need to call in the multiband or hardcore EQ cavalry (of course Linear Phase EQ has pretty specific uses in mastering/premastering for most people, it isn't going to be your channel EQ or anything).

For mixing purposes, if you aren't using these for paid work (or want to test things out first), I recommending picking up some raw tracks for practicing mixing. That will really help you get a feel for what these really shine on individually, then also in combination (like the Precision Comp/Limiter + the Program EQ is sweet, but larger chain combinations as well).

[AC222]

I'm still on the fence whether I want to burn my credits on this one. I'm very much interested in the 33609 comp as well. I'm afraid I might like it too much....

The new unit (Precision Comp / Limiter) is clearly, to me, the best we've done - so was the Bus Compressor before it. Not surprisingly I reach for the new one now, but also before its release the standouts to me are Bus Compressor, White 2A, Black 76, Model 670, and Opto Compressor. Program EQ and British Channel come down the line a lot too, and then for general use the original EQ and I think our Brickwall Limiter is one of the best out there. Those can get you by on most projects, at least for me and then the Quads and Linear Phase EQ are especially good for times you need to call in the multiband or hardcore EQ cavalry (of course Linear Phase EQ has pretty specific uses in mastering/premastering for most people, it isn't going to be your channel EQ or anything).

For mixing purposes, if you aren't using these for paid work (or want to test things out first), I recommending picking up some raw tracks for practicing mixing. That will really help you get a feel for what these really shine on individually, then also in combination (like the Precision Comp/Limiter + the Program EQ is sweet, but larger chain combinations as well).

Peter, thanks for taking the time to write this. So I hope you see my response.

You "convinced" me and then I went out and bought the 33609 and then also SSL Bus Comp and then GK bass/cab to boot because I figured I could use those anyways. Haha. That's what happens when you like one thing and get in the buying mood.

I would say that this description is spot on. "The Precision model imparts a warm "fat and thick" sonic character, but isn't overly aggressive, even at higher compression ratios. The result is a very transparent yet musical sound that doesn't lose focus or detail, and is perfectly suited for virtually any mastering, post-production or broadcast application."

To elaborate, it really does impart a thickness and warmth that the real 33609. And it grabs just like the real unit. Now I really believe that you guys took things apart and did all the schematics because it is spot on.

But to be clear, what impresses me the most is that it does all these things without squashing the whole signal and adding weird sounding artifacts. I tried the UAD version that was very nice but I only liked that on drums because it really dulled things out on the 2 bus/stereo bus/mixbus when running a whole mix through. With this compressor, it just has a more analog behavior and sound.

The IK Precision Comp/Limiter adds some character that can be useful in digital records that can sound naked without it and glues the mix together in a tasteful way. But it still retains the dynamics enough that you can run a whole mix through it. And one last bit that is crucial to me is that while sounding analog, there aren't any weird artifacts added in. I find most digital plugins (not speaking for the wonderful new IK line of course) unsuitable on the 2bus because they leave weird artifacts that real analog units don't. Somehow the competition makes the mix sound plastic, overhyped, harsh, overly squashed, or dull. I end up usually taking off most of the 2bus comps.

The only other digital compressors I have found suitable on the 2bus are Liquid Mix (but pain in the ass to use), Nebula (doesn't have the same grab as the IK and very heavy cpu wise), and some of the other UAD comps that aren't the 33609. Though the UAD stuff is ancient by now and I think that IK's new comps blow away the competition.

I can't imagine a better compressor than this new Precision Comp/Limiter. It seems this and the Bus Comp are on a whole new level. The only improvements I could suggest are a mix/blend knob, auto release, and maybe more presets. It has Auto 1, Auto 2 for presets but I can't tell if that's supposed to simulate autorelease or if that's something different.

I do have a burning question. Why are these being released in 2013? Was it just the team being perfectionists and wanting to do enough research for a better product? I would have thought that the SSl and Neve comps might be available in 2008. Digital comps have really gotten much better since then. Based on the quality, I think it's worth the wait.

You guys are are on a roll!

[Peter - IK Multimedia]

Peter, thanks for taking the time to write this. So I hope you see my response.

<snip since it was a huge quote>

But to be clear, what impresses me the most is that it does all these things without squashing the whole signal and adding weird sounding artifacts. I tried the UAD version that was very nice but I only liked that on drums because it really dulled things out on the 2 bus/stereo bus/mixbus when running a whole mix through. With this compressor, it just has a more analog behavior and sound.

The IK Precision Comp/Limiter adds some character that can be useful in digital records that can sound naked without it and glues the mix together in a tasteful way. But it still retains the dynamics enough that you can run a whole mix through it. And one last bit that is crucial to me is that while sounding analog, there aren't any weird artifacts added in. I find most digital plugins (not speaking for the wonderful new IK line of course) unsuitable on the 2bus because they leave weird artifacts that real analog units don't. Somehow the competition makes the mix sound plastic, overhyped, harsh, overly squashed, or dull. I end up usually taking off most of the 2bus comps.

<snip again>

I do have a burning question. Why are these being released in 2013? Was it just the team being perfectionists and wanting to do enough research for a better product? I would have thought that the SSl and Neve comps might be available in 2008. Digital comps have really gotten much better since then. Based on the quality, I think it's worth the wait.

You guys are are on a roll!

Thanks! And to think I almost deleted that original post before submitting thinking I was being a bit long-winded and uninteresting. I really do like this one and it puts me in a bit of a dilemma as I like to have SOME habits and the mix bus habit now has two amazing choices each time I have to make it. However, the Precision Comp/Limiter will be used again shortly as I'm finishing up the production aspects of a more "pop" endeavor and with the more digital vibe of that material by nature (actually another long-winded nice work flow story for that project, but perhaps for another day, or a nice post on our forum or something) I will likely use the Precision Comp/Limiter there for the reasons and observations you make about that sort of thing above.

As for the reason for releasing them now in 2013? I guess it is kind of what you describe and similar to that OLD commercial that said "we will sell no wine before its time" (though we're surely not perfect - which reminds me to remind you all to get AmpliTube 3.11.1 if you haven't yet )... The previous set, especially the Bus Compressor took A LONG time and a lot of work, as did this model. We're trying to pick up the pace on certain things, but still keep the quality so we'll always balance that as well as we can. I've had some discussion about potential and likely upcoming gear and it seems to be thought out well in my opinion but everybody's needs are different so there's a whole new balancing act there too. I guess the reason is what you suspected - what I've heard most accurately described as a maniacal attention to detail and methodical unforgiving process of recreating the signature sound of this gear in digital form is pretty much the reason.

[Arrested Developer]

The new unit (Precision Comp / Limiter) is clearly, to me, the best we've done - so was the Bus Compressor before it.

You're giving me a hard time...
Testing both A:B is quite tough.
On drums i clearly prefer the results with the Bus compressor however. so far.
Need some more testing...