The Mastering Modules
EQ: Simple 11-band tonal shaping aimed at broad balancing rather than surgical correction.
Compression: Single-control compression that can range from light to dense, with an optional 250 Hz high-pass filter to prevent pumping.
Transient: Enhances or softens transient attacks for controlling punch.
Stereo: Multi-band stereo width control for basic shaping of the stereo image.
Limiter: Transparent limiting with selectable LUFS targets, output ceiling, drive and optional true-peak control.
Testing
With David Guetta and Nicky Romero’s names attached to FASTER MASTER, it’s clear that it’s designed for EDM and high-energy tracks. With this in mind, I first tried it on an uptempo EDM song that was mixed and ready to master. I selected the “Punchy and Clean” profile, as it had the best balance of transient detail to loudness. The transient control was excellent; the kicks were loud and clear, the snares were sharp and the hi-hats cut through without overwhelming the mix. The limiter successfully avoided pumping and distortion, giving the track a very professional, full sound. These were the standout features for me; great transient control and transparent loudness. The EQ, compression and stereo imaging were good, but I’d likely use other plugins for more precise control, then apply FASTER MASTER for the final punch and loudness.
My next test was with a modern sounding trap song. The “Modern and Crisp” profile got it to -5 LUFS without significant distortion, and the drums, vocals, bass and instruments remained clear and balanced. The EQ suggestion wasn’t great, overly boosting the highs, and it was hard to hear the compression (the only feedback was the word “light”), but the transient shaper and limiter definitely did the job, and I was able to add some crunch with the “drive” control. I’d be interested in hearing FASTER MASTER on a less-polished mix; the other processors didn’t have to do much heavy-lifting on these tracks, and it’d be good to test them on a mix that needed more width and tonal balancing.
To take FASTER MASTER out of its comfort zone, I tested it on my personal music. I make classical-inspired ambient music, and I expected it to struggle with the natural dynamic range, as it’s targeted more towards modern production. After analysis, it gave me a range of options; the standouts were “Soundtrack – Piano Solo”, “Soundtrack – Piano and Strings” and “Acoustic – Vocals Piano Bass Dark”. Each was very light on compression, with almost no transient shaping. Once again, I wasn’t a fan of the EQ changes, even with the supposedly “dark” preset there was a significant high-end boost that simply wasn’t needed and amplified some artefacts that I intentionally kept low in the mix. However, the dynamic control was impressive; it easily reached -5 LUFS whilst retaining the dynamic range. I backed off the limiting a bit by reducing the LUFS target from -5 to -8, which improved the clarity and micro-dynamics, and I was pretty happy with the result. I do most of my tone and stereo balancing in mixing, so I was mainly interested in the dynamic processing and loudness, and FASTER MASTER didn’t disappoint.
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