What mastering is
Mastering is the last creative and technical stage: it takes the stereo mix (or the stems) and makes it cohesive, competitive and ready for distribution. Goals: correct tonal balance across all systems, dynamics and loudness suited to the genre and the platforms, a solid stereo image that is mono-compatible, consistency across the tracks of an EP/album (levels, color, gaps), and technically correct files (formats, true peak, metadata). Mastering improves, it doesn't rescue: corrections beyond 2–3 dB mean you need to go back to the mix.
Preparation
- Correct premix: 24-bit WAV (or 32-bit float) at the project's sample rate, peaks −6/−3 dBFS, no limiter on the master (unless requested), full tails at the beginning and end.
- Separate project: in FL open a new project, import the premix into the Playlist as an audio clip and route it to a mastering mixer track (or directly to the Master). This way the master chain doesn't weigh on the mix project and you can compare versions.
- References on a mixer track that doesn't pass through the master chain, loudness-matched.
- Listening: constant level, monitors and headphones, then checks on phone, car, Bluetooth speakers.
The typical chain (in order)
- Cleanup and correction — corrective EQ: HP at 20–30 Hz (if there's useless rumble), cuts of resonances or broad excesses (0.5–2 dB). Often linear-phase in mastering.
- Corrective dynamics — dynamic EQ or multiband for problems that appear intermittently (bass that grows in the chorus, 2–5 kHz harshness, sibilance): 0.5–2 dB.
- Glue compression — 1.5:1–2:1, attack 10–30 ms, auto release or 100–300 ms, GR 0.5–2 dB. Vari-mu or VCA (or transparent digital). Optional.
- Color EQ — shelf or Baxandall/Pultec: +0.5/+1.5 dB of air at 10–16 kHz, weight at 30–60 Hz; slight tilt.
- Saturation — light tape or tube, or console: density and cohesion (0.5–1 dB of rounded peaks).
- Stereo — M/S: mono bass below 100–150 Hz (if it isn't already), slight widening of the highs on the Side (+0.5/+1 dB); check correlation.
- Clipper — 1–2 dB on the transients (optional, loud genres).
- True peak limiter — GR 1–4 dB, ceiling −1 dBTP (−2 dBTP for masters above −14 LUFS).
- Dither — only when exporting to 16 bit (or 24 bit from 32 float), as the last process, only once.
- Measurement — integrated and short-term LUFS, true peak, LRA, PLR, correlation, spectrum.
Stock chain in FL Studio
| Stage | Stock plugin | Starting setting |
|---|---|---|
| Corrective EQ | Fruity Parametric EQ 2 (LIN mode if you need low-frequency cuts without phase rotation) | HP 25 Hz 12 dB/oct, cuts ±0.5–2 dB Q 0.7–2 |
| Multiband dynamics | Maximus (bands and Master) or Fruity Multiband Compressor (FIR) | 1–2 dB per band, bass attack 20–30 ms |
| Glue | Fruity Compressor (Soft or Vintage/R) | 1.5–2:1, attack 20–30 ms, release 150–300 ms, GR 1 dB |
| Color EQ | Fruity Parametric EQ 2 | high shelf +1 dB 12 kHz low Q, low shelf +0.5 dB 40 Hz |
| Saturation | Fruity Blood Overdrive (very low Pre Amp) or Maximus saturation | barely perceptible, low mix |
| Stereo | Spreader (Low Bypass 120–150 Hz + Mono) | Spread 0–20% |
| Clipper + limiter + TP | Emphasis | Versatile mode, Hardness 2–4, True Peak on, 4× oversampling, Output −1 dB |
| Metering | Emphasis (LUFS), Wave Candy (spectrum, vectorscope), Spreader (phase) | — |
Chain with third-party plugins (example)
FabFilter Pro-Q 3/4 (linear, M/S) → Pro-MB or Ozone Dynamic EQ → Shadow Hills / SSL / Kotelnikov or Manley Vari-Mu → Pultec (UAD/Waves) → Ozone Exciter or Softube Tape → Ozone Imager → KClip → Pro-L 2 or Ozone Maximizer → Youlean / Insight 2. iZotope Ozone (with Master Assistant) offers all the stages in a single plugin: use the assistant as a starting point, not as the final result.
Target values
| Parameter | Target |
|---|---|
| True peak | ≤ −1 dBTP (≤ −2 dBTP if above −14 LUFS) |
| Integrated loudness | depending on genre: −14/−12 LUFS dynamic, −10/−8 loud, −8/−5 very loud (trap, EDM, rage) |
| PLR | 8–12 dB dynamic, 6–8 loud, 5–6 very loud |
| Correlation | +0.2/+0.8; below 150 Hz > +0.9 |
| Limiter GR | 1–4 dB (peaks up to 6 in loud genres) |
| EQ moves | 0.5–2 dB |
Albums and EPs
- Track order, gaps (silence between tracks 1–3 s, or crossfades), fades.
- Perceived loudness consistency: not all tracks at the same integrated loudness; the ballad can sit 2–4 LU below the loud single, because platforms can normalize by album (Spotify normalizes whole albums, keeping the differences between tracks when you listen to the album).
- Color consistency (same basic chain with per-track adjustments).
Common mistakes
- Pushing loudness before fixing the tone.
- A long chain of plugins "because that's what you do": every stage must have a reason.
- Comparing at different volumes: use Emphasis's Level Matching or lower the output by as much as you gain.
- Ignoring mono and the low end on small systems.
- Mastering on the mix project's master with a limiter already active during the mix (you adapt to the limiter and lose dynamics).
- Dithering more than once or before other processes.
How to hear it
- At equal loudness the master must sound better than the premix (clearer, more cohesive, better balanced), not just louder.
- Listen to the critical points: the beginning, the densest chorus, the drop, the ending; the vocal must neither sink nor "jump out".
Starting settings
| Parameter | Value | Why |
|---|---|---|
| EQ moves | 0.5–2 dB | Beyond that, go back to the mix. |
| Glue | 1.5–2:1, attack 10–30 ms, GR 0.5–2 dB | Cohesion without losing punch. |
| Clipper | 1–2 dB (loud genres) | Shares the work with the limiter. |
| Limiter | GR 1–4 dB, ceiling −1 dBTP | Loudness and peak. |
| Mono bass | Below 100–150 Hz | Stability on club systems and vinyl. |
| Dither | Only at 16 bit, last stage | No quantization distortion. |
| Level matching | Always when comparing | Fair judgment. |
Frequencies to watch
| Range | What to do |
|---|---|
| 20–30 Hz | Light HP if there's rumble; don't cut the musical sub. |
| 30–120 Hz | Weight and control of the low end: light shelf, multiband, mono. |
| 200–500 Hz | Mud or warmth: broad 0.5–1.5 dB moves. |
| 2–5 kHz | Harshness: dynamic EQ or light multiband. |
| 10–16 kHz | Air: shelf/Baxandall +0.5/+1.5 dB. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Corrective EQ | Fruity Parametric EQ 2 (LIN) / Pro-Q / Ozone EQ | HP 25 Hz, ±0.5–2 dB | Tonal cleanup. |
| Corrective dynamics | Maximus / Fruity Multiband Compressor (FIR) / Pro-MB / Ozone Dynamic EQ | 0.5–2 dB per band | Intermittent problems. |
| Glue | Fruity Compressor / SSL G / Kotelnikov / vari-mu | GR 0.5–2 dB | Cohesion. |
| Color EQ and saturation | Fruity Parametric EQ 2 / Pultec / tape | +0.5/+1.5 dB air, minimal saturation | Character. |
| Stereo | Spreader / Ozone Imager / Pro-Q M/S | Mono bass, Side +0.5 dB in the highs | Solid image. |
| Clipper + TP limiter | Emphasis / KClip + Pro-L 2 / Ozone Maximizer | Ceiling −1 dBTP | Final loudness. |
| Metering and dither | Emphasis / Youlean + export dither | LUFS, dBTP, PLR | Verification and delivery. |
How to check the result
- True peak ≤ −1 dBTP (≤ −2 dBTP above −14 LUFS).
- Integrated loudness within the genre's range; differences between tracks on an album are intentional.
- PLR and LRA consistent with the genre; limiter GR within 1–4 dB (peaks 6).
- Master spectrum within ±2 dB of the references at equal loudness; same shape as the premix (apart from intended corrections).
- Mono: drop no more than 1–3 LU; correlation below 150 Hz above +0.9.