What you are actually deciding
T-RackS 5 is IK Multimedia's mixing and mastering environment, built around a set of processor modules you chain together. Rather than describing every module, this page gives you a mastering workflow that suits any modular processor chain, plus a way to decide if the suite is worth the time.
Scenario: mastering a 3-minute pop-rock demo
You have a stereo mix peaking at about -6 dBFS. It sounds a little dull, the low mids are cloudy, and it is quieter than commercial references.
Step 1: prepare
- Export the mix with no limiter on the master bus.
- Leave at least 3 to 6 dB of headroom.
- Load a reference track and level-match it to your mix by ear.
Step 2: a sensible chain order
- Corrective EQ: cut 1 to 2 dB around 250 to 350 Hz if the mix is boxy. High-pass at 25 to 30 Hz to remove rumble.
- Gentle compression: ratio 1.5:1 to 2:1, slow attack (30 ms or so), auto or medium release, aiming for 1 to 2 dB of gain reduction.
- Tone EQ: a broad 1 dB shelf above 8 kHz for air, only if the reference asks for it.
- Saturation or tape stage: small amounts, to glue rather than colour.
- Limiter: ceiling at -1.0 dBTP, with input raised until you see 2 to 4 dB of limiting on peaks.
Module roles
| Stage | Job | Typical amount |
|---|---|---|
| EQ | Fix balance | Under 2 dB per band |
| Compressor | Glue dynamics | 1 to 2 dB reduction |
| Stereo imager | Width | Small, mono-check after |
| Saturation | Density | Barely audible |
| Limiter | Loudness ceiling | 2 to 4 dB on peaks |
Checklist for a good master
- Loudness compared to the reference within about 1 to 2 LU.
- True peak at or below -1 dBTP.
- Mono fold-down keeps the vocal and bass solid.
- Master A/B checked at matched volume, not just louder.
- Bypass the whole chain once at the end. If the bypassed version sounds better, remove something.
Common mastering mistakes
- Chasing loudness before fixing balance. A limiter cannot cure a muddy low mid.
- Stacking several EQs that each boost a little; the sum is a big boost.
- Judging changes without level matching.
- Mastering with the mix already limited.
Is a suite right for you?
A processor suite pays off when you want one workflow for many songs. If you only need a limiter and an EQ, a couple of free plugins can do the job. Compare against the options in the free VST collection. Before mastering, get your mix balance right using the gain staging guide, and study compression basics in this compressor tutorial.
Edition and pricing
IK Multimedia has offered different editions and promotions of T-RackS over time. Check the current edition, price and what is included on the official IK Multimedia page before you buy or install.
Practical loudness targets
Different destinations reward different levels. Use these as a starting point, then trust your reference tracks.
- Streaming: integrated loudness in the neighbourhood of -14 LUFS, true peak under -1 dBTP.
- Club or DJ use: louder and punchier is normal, but leave transients intact.
- Demos and pre-masters: about -10 to -12 LUFS is plenty, and lets others master it later.
Working in short listening sessions
Master in 20-minute blocks. Take a break after each, and leave the final check for the next day. Fresh ears catch harsh highs and over-compression immediately.
Saving your chain
Save the processor chain as a preset named after the genre and date, for example "rock demo, light glue". You will reuse the structure even if the settings shift from song to song. Keep a short text note of the reference track used and the final loudness, so you can compare the next project.
Second scenario: a hip-hop beat with 808 bass
A trap beat peaks at -4 dBFS and has a heavy sub. Skip broad low boosts. High-pass at 28 Hz to remove inaudible energy that steals headroom, then use a narrow cut of 1 to 2 dB near 60 to 80 Hz only if the 808 sounds uneven between notes. Use a fast attack limiter setting to catch the kick and 808 hits, with about 2 dB of reduction, and check on a small speaker that the bass is still audible through harmonics. If the master gets boomy when louder, lower the limiter input rather than boosting the bass EQ.
Troubleshooting
- Master sounds squashed: cut limiter input by 2 dB and re-compare against the reference.
- Vocals sit too far back after mastering: return to the mix and raise the vocal 0.5 dB, not the master 2 to 4 kHz band.
- Harsh cymbals: remove the air shelf or dip around 6 to 8 kHz by 1 dB.
- CPU overload: bounce the mix and master on a fresh project with fewer tracks.
FAQ
What should my master peak at?
A true-peak ceiling of about -1 dBTP leaves room for lossy encoding on streaming platforms.
Do I master in the same DAW project?
You can, but a separate project with the exported mix helps you judge the whole song and compare it against references.
How much loudness is enough?
Match your reference and stop. Streaming services normalise loudness, so extra limiting mostly adds distortion.
