Serial processing when mastering

As a rule, master-bus processing should be transparent and subtle. After all, you want to gently refine and sweeten, not completely alter the overall balance you spent hours crafting. So, if master EQ moves or gain-reduction values are breaching 1-2dB (3dB at a push), it’s probably a good indicator that something should be fixed within the mix itself, where you have far more control over individual elements.

In terms of transparency, it’s common knowledge that one big processing move will appear more obvious than the same move distributed across two or more devices. So, two compressors each applying -2dB of gain reduction will sound more transparent than -4dB of gain reduction with one compressor. Further, spreading the workload across multiple processors gives much more control, as you can combine devices with differing, complementary sonic characteristics.

Therefore, here are a trio of tips for master-bus limiting. Don’t forget: every limiter has its own unique sound. Don’t be afraid to trial different limiters in the search for one that best suits the track in question.

Two-stage compression

The legendary Shadow Hills Mastering Compressor features two circuits: a gentler optical compression stage for initial smoothening, that then feeds into a more aggressive, peak-taming VCA stage – easily emulated by chaining two compressors in series.

Multiband levelling then EQ

If the level of a particular frequency region – say, your bass end – is a little weak, and is jumping around a tad too much, even out its dynamics with a band of multiband compression. Follow this with a flavoursome EQ boost for a subtle dose of flavour.

Clipping then limiting

Instead of taming master peaks with purely a limiter, first chop off initial peaks with a bit of soft-clipping. This will reduce workload from the subsequent limiting stage, giving the end result more transparency with less ‘pumping’ artefacts.