Mastering EQ plays a crucial role in the final stage of music production. It is used to adjust the frequency balance of a track, ensuring that it sounds clear, balanced, and polished across different listening systems (from headphones to club speakers). The goal of EQ in mastering is to enhance the track while preserving the integrity of the mix and ensuring it translates well to all formats.
In mastering, EQ is used more subtly and gently than in mixing. Instead of drastic changes, you’re typically making small adjustments to shape the overall sound and correct any tonal imbalances.
Understanding Mastering EQ
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Broadband EQ vs. Surgical EQ
- Broadband EQ is used to adjust the overall tonal balance of the track in a musical way, typically affecting broad frequency ranges (e.g., boosting the high end or cutting some low-mid buildup).
- Surgical EQ is used to correct specific problem frequencies or resonances in a mix (e.g., cutting out a problematic midrange hum). This type of EQ should be used more sparingly in mastering.
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Linear Phase EQ vs. Minimum Phase EQ
- Linear Phase EQ preserves phase coherence, meaning that it doesn't introduce phase shift when altering the frequency response. This is particularly useful in mastering when you want transparent, artifact-free EQ adjustments.
- Minimum Phase EQ changes the phase relationship between frequencies, which can sometimes cause more "musical" changes and can be useful in some cases where you want more coloration.
Common EQ Adjustments in Mastering
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Low-End (Sub-Bass and Bass) Control
- Problem: Too much low-end can result in a muddy, boomy mix that lacks clarity. Too little low-end can make a track sound thin and weak.
- Solution: Use a high-pass filter (low-cut filter) to remove unnecessary sub-bass below 30-40 Hz. You can also gently boost around 60-80 Hz for warmth and fullness, but be cautious not to overdo it, as it can muddy the track.
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Typical Range:
- High-pass filter: 20-40 Hz (to clean up the sub-bass)
- Boost: 50-80 Hz (for warmth, but gentle)
- Cut: 100-250 Hz (if the low-mids are too muddy or boxy)
Example:
- A high-pass filter at 30 Hz to remove rumble.
- A slight boost around 60 Hz for added punch in the bass.
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Midrange (400 Hz to 5 kHz) Adjustments
- Problem: The midrange is where much of the clarity of the track lies, but it can easily become too congested or harsh. Common issues are boxiness or nasal sounds.
- Solution: Use EQ to cut any boxy or muddy frequencies (typically around 200-500 Hz). If there’s too much harshness or honkiness, you can make a subtle cut around 1–2 kHz.
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Typical Range:
- Cut: 200-500 Hz (if the mix sounds too muddy or boxy).
- Boost: 1-2 kHz (for clarity or presence).
- Cut: 3-5 kHz (if harshness or sibilance is noticeable).
Example:
- Cut around 400 Hz to reduce muddiness or boxiness.
- Boost around 1.5 kHz for vocal presence or to bring out guitars.
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Presence and Clarity (5 kHz to 10 kHz)
- Problem: A lack of presence can make the track sound distant or flat, while too much presence can lead to harshness or ear fatigue.
- Solution: Gentle boosts around 6-10 kHz can add brightness, air, and definition, making elements like vocals, cymbals, and the high-end of instruments more present. However, too much boosting in this range can introduce harshness, so moderation is key.
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Typical Range:
- Boost: 5-8 kHz (for clarity, presence, and sparkle).
- Cut: 10-12 kHz (if there's too much harshness or if cymbals sound too sharp).
Example:
- A gentle boost at 7 kHz to bring out the definition in the vocals.
- A slight cut at 10 kHz if the cymbals are too sharp or harsh.
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Air and Brightness (10 kHz and above)
- Problem: The very high frequencies, if overdone, can sound "sizzly" or fatiguing.
- Solution: To give the track an “open” or “airy” feel, you can boost above 10 kHz to add that sparkle. But be careful—too much can result in unpleasant sibilance or harshness.
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Typical Range:
- Boost: 12-16 kHz (for air and sparkle).
- Cut: 12-16 kHz (if sibilant or overly bright).
Example:
- A subtle boost at 12 kHz to add air and openness to the track, especially if it feels too dull or closed off.
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Dealing with Sibilance (6–8 kHz)
- Problem: Sibilance (the harsh “s” sounds) can be a problem, especially in vocals or high-frequency instruments.
- Solution: Use a de-esser (a dynamic EQ or multiband compressor) to tame the sibilant frequencies around 6-8 kHz. This can help smooth out harsh vocals or overly bright parts of a mix.
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Typical Range:
- Cut: 6-8 kHz (to reduce sibilance).
Example:
- A slight cut or dynamic reduction around 7 kHz to smooth out harsh sibilant vocals.
How to Use EQ in Mastering
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Subtlety Is Key: In mastering, EQ adjustments should generally be gentle and subtle. Large, drastic EQ moves are usually made in the mixing stage. In mastering, you aim to fine-tune the overall tonal balance of the track.
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Make Adjustments in Context: It’s easy to make changes to a track based on a soloed element, but always listen to the track in its entirety. Make sure any adjustments improve the overall mix and translate well across various listening environments.
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A/B Comparisons: After making EQ adjustments, it’s crucial to constantly compare the track to the original version (before EQ) to ensure the changes are improving the sound. You can use the bypass button on your EQ plugin to quickly toggle between the processed and unprocessed sound.
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Use a Linear Phase EQ for Transparency: If you want to avoid phase shifting when making EQ adjustments, use a linear phase EQ. This is particularly helpful when making wide, gentle changes in the low-end and high-end of the spectrum.
Common Mastering EQ Tools
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iZotope Ozone EQ:
- This plugin offers both parametric and linear phase EQ modes. Ozone's EQ is great for overall tonal shaping, and it comes with some helpful visual tools to assist in making decisions based on frequency content.
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FabFilter Pro-Q 3:
- A very popular EQ plugin, known for its flexibility and transparency. It features both minimum phase and linear phase modes, allowing for transparent EQ shaping with minimal phase issues.
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Waves Linear Phase EQ:
- A favorite for mastering engineers when phase coherence is essential. It’s useful for transparent tonal shaping, especially when making adjustments to the low and high frequencies.
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SSL X-EQ:
- A favorite for analog-style EQ that still offers modern precision, SSL's X-EQ is great for boosting or cutting specific bands without adding unwanted color.
General Mastering EQ Tips:
- Start with a Flat EQ: Begin with the EQ flat (no boosts or cuts) and only make adjustments based on what the track needs.
- Avoid Overdoing It: Small changes usually yield the best results. If you find yourself making drastic EQ moves, consider revisiting the mix or asking yourself if the change is truly necessary.
- Use High-Pass Filters: Apply a high-pass filter below 30–40 Hz to remove rumble and unwanted sub-bass frequencies that aren't audible but take up valuable headroom.
- Balance the Frequencies: Make sure no one frequency range dominates the mix. You want the low end to be full, the midrange to be clear, and the high end to sparkle without becoming harsh.
Conclusion
Mastering EQ is all about making subtle, transparent adjustments to ensure the track sounds balanced and polished. The goal is to enhance the track, not radically change it, and preserve the artistic intent of the mix. Focus on the tonal balance, fix any frequency issues, and always listen in context. When used correctly, EQ will bring out the best in your track, ensuring it translates well across different listening systems and formats.
By the Stealify Team!
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