Mackie Tracktion 3 Ultimate Bundle

TRACKTION BASICS

Tracktion offers a different take on workflow — for example, there’s no conventional mixer view, although of course you can mix tracks. However, the feature set compares to hosts costing much more. Its 64-bit audio engine, for example, is a feature found in only a handful of programs. Tracktion was also one of the first programs to compensate for latencies incurred while recording.

One big change from version 1 to version 3 is the price, from $80 to $319.99 for the Ultimate Bundle. But true to its inclusive roots, the Tracktion 3 Project Bundle (the same core program, but less accessorized) lists for $129.99.

However, the subject at hand here is the Ultimate Bundle, not just Tracktion 3 (T3 from here on). T3 is available as a fully functional trial download, including plug-ins from Mackie and MDA. You can also download a smaller version with just the sequencer. The only limitations are an occasional bit of noise injected into the signal, and that the demo doesn’t allow file exporting.

What you can’t download as part of the demo is all the third-party software in the Ultimate Bundle (see “Tracktion 3’s Goodie Bag” on page 72). Like yours, my BS detector wakes up when I see the word “ultimate,” so let’s find out just how ultimate this bundle is.

OVERVIEW

T3 includes two DVD-ROMs, and given how much stuff gets installed, the process is remarkably smooth. There’s no dongle; authorization is handled online (or offline if needed). Some of the accessory programs need their own authorization, but again, it all works in a non-confusing way.

Screen layouts are clean and open, and the program has only three pages — project management, settings, and editing. Editing uses a one-screen interface with six main sections. Clockwise from upper left in the main screen shot on page 68, these are as follows.

Browser. Sure, you can audition files (with auto-play and adjustable level), and drag them into the Track View; but the browser also scans for, and categorizes, Acidized, REX, and Apple loops into Instruments, Genres, and Descriptors (providing, of course, they already contain the proper “metadata” tags; if not, you can add your own, and make the files part of the library). The browser can also show project markers and clipboard contents.

Track view. This is pretty standard stuff, showing audio and MIDI clips. You can trim, resize, add graphic fades, do crossfades, time-stretch (hold Alt while resizing), cut/copy/paste/move, and the like.

Filter area. Located to the right of the track view, this concept replaces the traditional mixer. A filter can be a VST instrument, audio plug-in, level or pan control, meter, etc. Essentially, this is a “do-it-yourself” modular mixer. You can process individual clips by dropping filters onto them; you can also drop ’em on to the master bus, or into “racks” for complex track or bus processing. Few programs come even close to equaling this feature, as you can create all manner of serial and parallel effects chains.

Transport. In addition to standard transport controls, this is where you’ll find loop, punch-in, snap, and scroll buttons, plus the tempo indicator.

Properties pane. This is like an “inspector” that shows details on a selected clip or other element of the interface.

Toolbar. Functions like save, import, snap, undo, automation choices, and the like, are located here, not in pull-down menus. Click on a button, and a pop-up presents you with the associated options.

If you’ve used sequencers before, there really isn’t much of a learning curve, and the pop-up tool tips are helpful and extensive. The ease of use may lead you to think you know all that the program can do, but read the manual to discover many finer points.

IN USE

The best way to test out the elements of the Ultimate Bundle is to use them in a track, right? So I got to work, browsing, dragging, and editing.

Let’s start with the Sonic Reality loops, based on their RAW (an acronym for REX, Apple Loops, and WAV) series. It’s a solid, generous sampling that can provide useful material, but it’s not a “jack of all trades” collection. For example, with vocals, you’ll find only human beatboxing — no choirs or solo voices. Nor will you find orchestral material, but there are some really solid drums, as well as unusual nuggets like fiddle loops. If you work in a specific genre, you’ll definitely want to flesh out the library with more related files, but there’s still a lot to like here.

Orchestral sounds abound in a “lite” version of Garritan Personal Orchestra. Well, maybe it’s not so lite: It has most (if not all) of what you need, including brass, woodwinds, harpsichord, piano, harp, orchestral percussion, solo strings, section strings, glockenspiel, marimba, and pipe organ. Quality is surprisingly good — the solo violin, for example, is better than what I’ve heard from a lot of high-end keyboard workstations. Do read the manual that’s included on the second installation disc, because GPO uses Native Instruments’ Kontakt 2 Player, which has a pretty deep feature set, including a full-featured mixer with a bunch of effects. Overall, the GPO plug-in is a standout.

IK Multimedia’s SampleTank 2 SE provides up to 16 parts worth of MIDI-driven sounds including electric and acoustic guitars, percussion, some ethnic instruments, choirs, drums, strings, synths, and more. There’s nowhere near the selection of the “real” SampleTank 2, but they’re good sounds, and you do get the full complement of 32 effects.

You gotta have a drum machine, and LinPlug’s RM-IV is a versatile plug-in with too many kits for me to count, and MIDI files for “out of the box” grooves you can simply drag into T3’s tracks. Frankly, RM-IV deserves its own review — it has synthesis options as well as sample-based sounds, multiple outputs, matrix modulation, deep editing, and unexpected features like a “Varizer” that adds variations to drum hits. This is a gem that could easily take care of all your drum module needs.

Want more drums? There’s DrumCore TK, which ReWires into Tracktion. It too contains draggable audio and MIDI files. What’s more, you’re not totally locked in to a file once it’s loaded, as the “Gabrielize” function randomizes the loop somewhat. If you like what you hear, drag it in; if not, try again.

We’re still not done, as LinPlug also provides the CronoX 3 and Alpha 3 synthesizers, both of which go way beyond the basics and like RM-IV, could easily fill up this entire review. Fully functional demos of these, as well as the RM IV, are available at www.linplug.com.

CONCLUSIONS

For the third month in a row, Keyboard has assigned me a product that unquestionably deserves a Key Buy. Tracktion has evolved into a remarkably capable program, folding in features like loop recording, track freeze, folder tracks, loop support, collaboration-oriented features, time signature and tempo changes, and more. It still lacks some of the features of more expensive host programs, such as support for multiple video formats, a mixing console view, and beat detecting functions, all of which are more specialized for pro-oriented applications. The only real complaint I’d make is that T3’s MIDI editing is relatively limited, although there’s enough to cover most needs.

Still, there are a lot of other relatively low-cost programs that do a more than credible job, so the bundled software is the cornerstone of its exceptional value. I can think of no other package that’s as cost-effective for someone on a tight budget who wants to get involved in recording. You don’t even need a heavy-duty computer to run T3. In fact, at this price, any software thief who whines that “software costs too much” can just plain stuff it: The bang-for-your-buck aspect of the Tracktion 3 Ultimate Bundle is, quite simply, off the scale.