Fast Fixes for Flat Masters
Some quick ideas when trying to add heft to a flaccid track
Everything seemed to be going just fine as you were laying down tracks—that is until it came time to mix the whole lot, and suddenly the individual parts seemed much less impressive when taken as a whole. If your completed masters sometimes lack that essential “punch,” here are a few basic ideas that can often do the trick, from slightly increasing tempo and pitch, to running the whole mix (or portions of) through a set of speakers in order to add ambience, and more.
Increase the speed. This idea harks back to the days when tape machines came outfitted with a variable speed control, allowing artists to experiment by recording at a reduced speed then playing back the track normal, or vice versa. Often a little tempo and tone shift is just what a lagging master needs. Go easy, though, as sizeable adjustments in speed and/or pitch can produce audible anomalies, depending on the platform you’re using.
Level with care. When left untreated, a multitrack is prone to random spikes in tone and volume, whether it’s a drummer vigorously attacking a crash cymbal, or a vocalist leaning in to an extra-high note. Because we’re accustomed to the consistency that you hear on a pro recording, the “raw” mix just won’t cut it for most people. Accordingly, carefully apply some compression to your untreated multitrack, either during mixdown (by inserting a stereo compressor into the recorder’s main output buss) or subsequently on your recording/editing platform. Use as little processing as possible—just enough to make the track nice and uniform, without actually hearing the effect at work.
Add some space. When something seems listless, often our first response is to throw some reverb at it and call it good. While these days even the most basic processors offer convincing plate, chamber or digital emulators, sometimes all you need is just a little extra cushion of air, which you can easily achieve outside of the box. For instance, rather than adding full-on echo to a guitar or synth break, try running the soloed track through a studio monitor or any basic speaker in an open room, then position a microphone several feet away and record the indirect signal to a separate track. Blend the two tracks to taste while mixing for a wider, more dynamic sound. You can also try this method for the entire mix (adding a second room speaker/microphone in order to create a stereo return).
Go with a pro. Even if you have considerable recording acumen, there’s only so much we home-studio dwellers can do on our own. Most of the time that’s just fine, but if you’ve come up with a track that’s a cut above, it may be worth it to seek out a competent third party with the gear and the ears to give your work a major-league sheen. Mastering professionals understand how to make the most of the stereo spectrum and utilize special tools to bring as much clarity to the work as possible, while ensuring sufficient punch throughout. These providers can also reassess your multitrack and make any adjustments as needed prior to mastering.
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