Mastering EQ

An equalizer is one of the first tools a novice producer encounters. At the mixing stage, it helps remove unnecessary frequencies or emphasize the necessary ones. But as soon as it comes to mastering, its meaning changes.

In the final processing of a track, an equalizer is used not for the sake of “beauty”, but for fine-tuning the sound of the entire composition. Here, it is important not to re-cut, but to emphasize. A small cut in the area of muddy frequencies or a slight rise in the highs can give the recording purity and volume, which are immediately audible even to a non-specialist.

Mastering requires precise calculation and a careful approach. Working with an equalizer at this stage does not tolerate sudden movements – each change must be meaningful. That is why an equalizer in mastering is not just a correction tool, but a final alignment tool that affects the perception of the track as a whole.

Equalization in mastering: why and how it is used

Equalization is a point amplification or attenuation of a certain frequency range to achieve the desired sound. At the mastering stage, the equalizer is used not for drastic changes, but for fine tuning – leveling the balance and eliminating problems that may remain after mixing.

In mastering, EQ helps make a track sound universal – so that it is equally well perceived on streaming platforms, in a car, in headphones and on home speakers. For example, with the help of an equalizer, you can remove excess hum in the lows, slightly emphasize the airiness at high frequencies or eliminate resonance that interferes with the perception of vocals.

Unlike mixing, where EQ can actively change the structure of the mix, in mastering it acts carefully – most often these are adjustments within 1-2 dB. The equalizer becomes a kind of precision tuning tool that allows you to refine the track without violating its original character.

Equalizer at the mixing and mastering stages: what is the difference

The main difference between using an equalizer during mixing and mastering is the scale of the effect. During mixing, you work with individual tracks and can affect each instrument point by point. More noticeable changes are permissible here: you can boost the vocals by 3 dB in the middle, cut the low end of the guitar with a filter from 80 Hz or add highs to the overheads to give the cymbals airiness.

The situation is different during mastering. You are working with a finished stereo file, where all the elements are balanced. Any intervention affects the entire mix at once. Therefore, equalization at this stage should be as delicate as possible – usually changes are limited to 0.5-1 dB in the desired band. Even a small boost or cut in mastering can significantly affect the overall perception of the track.

This approach requires good hearing and precision. With experience, you begin to hear even the slightest changes in frequencies and understand where exactly the EQ can help without destroying the balance of the mix.

Popular equalizers for mastering: review and application

An equalizer in mastering is not just a frequency correction, but a subtle tool for controlling the balance, transparency and presentation of a track. In this section, we will look at five well-known EQ plugins that have proven themselves especially well in the final processing of a mix. All of them are unique in their own way and are suitable for different tasks.

• Sonnox Oxford EQ – known for its precision and clean sound. Often used for subtle adjustments in the upper midrange and eliminating problematic resonances;
• Weiss EQ1 – a high-end digital equalizer with medical precision. Especially useful when working with critical frequencies, where predictability and minimal distortion are important;
• AVA Mastering EQ by Harrison – a plugin with a musical presentation and smooth response. Its filter curve adapts well to mastering without introducing harshness into the processing;
• T-RackS Master EQ 432 — inspired by analog devices and offers a soft, “tube” character. Suitable for coloring the mix and adding density;
• Slate Infinity EQ — a flexible modern equalizer with an intuitive interface. Often chosen for its speed of operation and ease of visual control.

The choice of a plugin depends not only on the task, but also on personal preferences: it is important that the equalizer is understandable in operation and suits your taste. All the tools listed above have been tested in real conditions and have shown high results. The order in the list is random – each of these EQs deserves attention.

Sonnox Oxford EQ

Sonnox Oxford EQ is an equalizer designed with transparency and control in mind. It models the character of filters inspired by classic analog consoles, while offering modern control and visual precision. The plugin interface is intuitive: everything you adjust is immediately visible on the screen, which is especially useful when working with frequencies precisely.

At the time of writing, the plugin costs about $270, but quite often there are promotions, so you can get it at a discount.

The equalizer allows you to work with five main zones:

• Low frequencies;
• Low mids;
• Mid band;
• Upper mids;
• High frequencies.

In addition, high and low filters are available with an adjustable slope from 6 to 36 dB per octave. This allows you to both gently correct the spectrum and sharply cut off the unnecessary.

The central control is the choice of filter type. Oxford EQ comes in four types:

• Type 1 – for precise frequency correction with a neutral character;
• Type 2 – similar to the first, but with a fixed Q at cutoff;
• Type 3 – models smooth, musical curves, similar to the sound of Neve consoles;
• Type 4 – gives a more subtle adjustment with an aggressive relationship between gain and Q, great for the master bus.

For working with the final mix, it would be wise to immediately go to the settings and set the curve scaling in the range of -6 to +6 dB. This range is sufficient for mastering, where accuracy and minimal intervention are important.

Weiss EQ1

Weiss EQ1 is not just a virtual copy of the hardware device, but a line-by-line recoding of the original digital equalizer. In other words, the plugin completely replicates the work of the hardware Weiss EQ1, which makes it the most accurate and professionally reliable tool for mastering.

At first, the interface may seem unobvious. For example, the visual analyzer displays the spectrum only during track playback, and not in real time. However, despite this, EQ1 offers depth and control that are rarely found even in expensive analogs.

The cost of the plugin is currently $ 499.

The plugin is equipped with seven equalizer bands. Each of them can be configured as one of five filter types and, if necessary, switched to dynamic mode. The advanced menu includes the following parameters:

• attack;
• ratio;
• release (attenuation);
• threshold value.

This allows you to fine-tune the dynamic equalization for a specific task, whether it is a soft compression of a certain range or the elimination of a masking frequency.

For more visual work, an enlarged display is provided, where the visualization of parameters becomes clearer. However, editing of all settings in this mode is not supported, so for fine tuning you still need to return to the main interface.

The linear phase mode in Weiss EQ1 is a separate advantage. It provides clean and transparent equalization without phase distortion, which is critical for final processing. Also in the settings, you can change the behavior of the analyzer and set the delay for dynamic filters.

Despite some difficulty in mastering, Weiss EQ1 is appreciated for its exceptional sound and accuracy. This is a tool designed for those who work with a master at the level of tens of hertz and fractions of a decibel.

AVA Mastering EQ

AVA Mastering EQ by Harrison takes an unconventional approach to equalization: instead of the usual knobs and sliders, you simply draw the frequency curve you need. This makes the adjustment process quick and visually clear – especially if you don’t want to spend time fine-tuning each band manually.

The plugin costs $89, but you can often find it on sale for around $20. So for a tool of this level, this is a pretty good deal.

The equalizer uses 31 bands and allows you to literally draw the equalization curve with your mouse. By holding down the Shift key, you can fix or cut selected sections to get the desired shape and sound. This is convenient if you want to quickly achieve the result without digging into the parameters.

At the bottom of the interface are additional visualization settings. Three display modes are available:

• Graph – classic visual control;
• Scroll – automatic display movement;
• Lightning – simplified fast response mode.

High and low filters are also included and are designed in the same intuitive style, without complex menus. And at the top there is an output level control for easy control of peak values after EQ.

AVA Mastering EQ is a good choice for those who value simplicity, speed and a visual approach without sacrificing sound quality.

T-RackS Master EQ 432

Master EQ 432 by T-RackS is an equalizer inspired by classic analog gear, both in sound and interface. It will suit those who are looking for a warm analog sound with minimal visual distraction and clear controls. At the same time, it is flexible enough for serious work with the master.

The current price of the plugin is $ 149, but it is often included in the kits from IK Multimedia, so there is a chance to get it at a good discount.

The interface is thought out in sections. On the left is the reset button and the routing block. You can process the signal in Left / Right, Mid / Side mode or separately by channels. This is convenient for mastering, when you need, for example, to process only the side component, without affecting the middle.

Next come the filters: a shelf on the highs and a cut / shelf on the low frequencies, with the ability to add a low-frequency boost (bump) at 50 or 100 Hz.

The main equalization is built on three bands – low, mid and high. Each of them works independently, which eliminates mutual influence of the bands during adjustment. At the top of each section is a tilt control, below is the frequency selection, and at the bottom is the gain.

On the right side of the plugin are bypass, the overall gain range (can be switched between 9 and 12 dB), and a preset management system. You can save up to four settings and quickly switch between them – convenient for comparison or automation in the process of mastering.

Master EQ 432 is not a universal “Swiss knife”, but a highly specialized tool, great for coloring the final mix in the spirit of the analog tradition.

Slate Infinity EQ

The Infinity EQ equalizer plugin from Slate Digital is a modern audio processing solution that is similar in many ways to FabFilter Pro-Q 3, but offers a number of features that can appeal to both beginners and experienced sound engineers.

The first thing that catches your eye is the appearance. The interface is designed in a minimalist but informative style, close to what we are used to seeing from FabFilter. However, Infinity EQ is distinguished by smoother operation with parameters and a number of convenient additions. The cost of the full perpetual version is $ 149, but a subscription is also available for those who prefer monthly payments.

In the central part of the interface, the user can freely create equalization bands, adjust their slope, filter shape and bandwidth. But the main thing is the flexible work with the mid / side mode. Instead of simply switching between the middle and sides, here you can smoothly adjust the ratio between them, which gives more freedom in point processing of the stereo image.

Additional functions are located at the bottom of the plugin. Here you can pan the output signal left and right, as well as center and sides. This is especially useful if you need to fine-tune the stereo effect throughout the mix. There is an option to invert the phase and boost the output signal. You can also quickly bypass the effect to compare the processed and original sound, and expand the interface to full screen – convenient for detailed work.

If you need an advanced, but at the same time intuitive equalizer with flexible mid / side processing and a nice interface, Infinity EQ is a worthy option. Especially if you are looking for something similar to FabFilter Pro-Q 3, but a little more accessible and with an emphasis on simplicity.

How to Use a Mastering EQ: A Step-by-Step Check

Before you start mastering, it’s important to properly prepare your mix — and this is where EQ plays a key role. To get a balanced, professional-sounding result, it’s important to consider not only the plugin settings, but also how you hear the sound.

Start by evaluating your monitors

If you’re not confident in the accuracy of your speakers, anything you do with EQ may be irrelevant outside of your studio. For example, if your speakers make the high frequencies sound brighter than they actually are, you’ll subconsciously roll them off. The result is a dull, dusty sound on other systems.

If your room is untreated and full of reflections and standing waves, this will only make matters worse. Your room is literally substituting the sound that’s coming out of your speakers, distorting your perception of frequency balance. You hear not only what is playing, but also how the room reflects it, especially in the bass range.

When you can’t buy neutral monitors or tidy up the room, quality headphones come to the rescue. It’s not a perfect solution, but it’s much better than relying on unsuitable speakers. The main thing is to make sure you know how your favorite music sounds in these headphones, and don’t forget to test your masters on different speakers and devices. This is the only way to understand how your processing works in the real world, and not just within the walls of your studio.

Frequency Analysis in Mastering: How and Why to Use Measurement Tools

When you work on mastering, it is important not only to rely on your ears. A frequency analyzer is your assistant, which visually shows where in the spectrum there is overload, shortcomings or lack of energy.

One of the most convenient solutions in this regard remains Voxengo Span. This free plugin has long established itself as a reliable tool for assessing the spectrum. Personally, I regularly turn to it to understand whether I have frequencies accumulating in the low range or whether I have overdone it with the highs. When a mix sounds muddy, Span often shows in which range the problem is hidden.

To make the analysis as accurate as possible, it is worth switching the plugin to Master mode and setting the filter slope to 3 dB per octave. This setting reflects the perception of frequencies by the human ear and allows you to judge the balance more objectively.

If you use another analyzer, it is not a problem. The main thing is that it helps you see the big picture and notice things that are difficult to recognize by ear, especially if you are working in an unprepared room. It is an important tool that can prevent critical mistakes in mastering and bring the sound of your track closer to a professional level.

Mastering Equalization: Be Precise and Careful

When it comes to mastering, EQ requires extreme care. There is no room for radical changes here – everything must be measured and verified. If you add or cut more than a couple of decibels, most likely, this is a signal to return to the mix, and not try to fix everything at the final stage.

In practice, even 3-4 dB of gain on the master is not just a small correction. You thereby amplify the same frequency throughout the track, including vocals, synths, drums and other elements. As a result, one range begins to stick out and drown out the others, destroying the overall balance.

If you want to raise a certain frequency range, ask yourself: are you ready to manually add the same amount on each individual instrument? If not, it is better to go back a step and adjust the sound at the mix level. Mastering is not the time for radical edits. These are touches that enhance an already well-balanced work, rather than saving the track at the last moment.

Linear Phase EQ in Mastering: When and How to Use It

During mastering, a linear phase equalizer is often considered the tool of choice. Its main advantage is the almost complete absence of phase shift. This means that the waveform remains as close to the original as possible, the equalization sounds smooth, without distortion, and the sound does not lose clarity even with subtle correction in the upper range.

But there are pitfalls. Such equalizers seriously load the processor, especially if used on the master bus. In sessions with a large number of plugins, this can lead to slowdown and overload of the system. In addition, a linear phase equalizer introduces a significant delay, which is especially noticeable if you accidentally apply it not to the final master track, but, say, to a group of instruments. In such cases, working in real time becomes impossible.

Another nuance concerns the processing of low frequencies. Despite the softness and transparency of the highs, linear phase EQs may not produce the results you expect in the low end. So if working with the lows is key to mastering a particular track, you may want to either go back to the mix and tune the bass there, or use a mid/side EQ to carefully focus the low-frequency energy in the center and avoid unnecessary blurriness.

Linear phase EQ is a powerful tool, but it is not a universal solution. It is good where precision and minimal interference in the signal structure are needed, especially in the high frequency region. The main thing is to understand when its use is justified, and when it is easier and more effective to do without other methods.

How to Use an M/S EQ to Clean Up Your Mix

The mid/side EQ technique can greatly improve the perception of a track, especially in the lower range. One of the simplest and most effective techniques is to remove low frequencies from the side channels. This makes the low end more focused and concentrated in the center, which is especially useful at the mastering stage.

If you have an equalizer with M/S support, try applying a high-pass filter to the side channel and cutting everything below 150-200 Hz. This will keep the bass and kick strictly in the center, and the rumble and smearing at the edges will disappear. This technique helps to make the stereo picture more readable and frees up space for other elements of the mix.

However, you should not limit yourself to mastering processing only. M/S EQ is also useful during mixing. It works well on vocals, where you can clean up the sides, leaving the body in the center. It can also be useful on drum groups, especially if you want to make them wider without muddying the bottom, or on effects to keep the image clear.

If you combine M/S EQ with accurate monitoring and a good frequency analyzer, and choose the EQ correctly, you have more control over space and balance. All this together makes mastering more predictable and high-quality.

A Quick Guide to Mastering with EQ

When mastering, it’s best to equalize in broad strokes. This helps preserve the naturalness of the sound and avoid distortion. Narrow filters can also be useful, but only for pinpointing problematic frequencies.

Don’t tinker too much with the mix – if you want to change the character of the sound, you may need to go back to the mixing stage. In mastering, any changes should be subtle, but noticeably improve the overall sound.

Working with low frequencies in mastering

Start by filtering out the sub-bass frequencies. Setting the cutoff to 32 Hz won’t make a noticeable difference to the basic sound, but it will remove noise that your monitors probably can’t even reproduce. This is especially useful if the track has a lot of sub-bass — the filter helps to unload the low end a bit and make the picture cleaner. If necessary, use an M/S EQ to keep the low end only in the center — this will improve focus and remove rumble from the edges of the stereo.

If the low end sounds vague, try boosting the root of the track. Find the root note of the bass or kick drum and gently boost the level at that frequency. This approach not only emphasizes the desired range, but also makes the sound more musical than randomly boosting the first low frequencies that come to mind.

Be careful when cutting — especially around the kick drum. Too aggressive a cut can remove density and leave only the attack, which will make the hit sound like a snap without body. If this happens, it’s best to soften the correction or go back to the mix to correct the balance at the original level.

Low-mids

When a mix sounds muddy and overloaded, the reason often lies in the 150–250 Hz range. This is the area where the hum accumulates, which presses on the mix and makes it heavy. A wide, non-aggressive cut in this range can immediately open up the sound – the mix becomes more transparent, and the highs are perceived as brighter, even without a real boost to the high frequencies.

If the snare drum or guitars lack expressiveness, pay attention to the area around 500 Hz. Careful boosting here can add body and punchy mids to the instruments. Move slowly through the range and listen to the reaction – sometimes the desired effect occurs not at 500, but slightly higher or lower.

It is important to remember that in mastering, you work with the entire mix at once. By boosting one frequency, you simultaneously affect several instruments. Therefore, it will not be possible to add clarity only to the snare drum without affecting the guitars or vocals. If one instrument still doesn’t sound right, it’s time to go back to the original mix and work on it separately.

Also, the 400-600Hz range can quickly make the entire mix sound “boxy” – with a dull, constricted character. Therefore, any manipulation in this area requires caution. It is especially important to find a balance between density and openness.

High Mids and Treble: How to Work with Presence and Air

Adding high mids can quickly make vocals pop and your mix pop. But it’s easy to overdo it in the 3–5 kHz range. If you boost too much, the sound becomes piercing and tiresome to listen to. Vocals become harsh and cymbals start to bite. It’s best to boost this range gradually, constantly comparing before and after — especially if the mix already has dense guitars or rich highs.

Processing the highs is even more subtle. Frequencies above 10 kHz are responsible for the feeling of “air,” openness, and sparkle. If you boost them carefully, you can breathe life into even a dull track. But do it too widely or without looking at the balance — and the cymbals will begin to dominate, the sound will become fragile and unnatural. The best option is to look not just for brightness, but for a sense of space that appears with a pinpoint emphasis on the right frequency, often above 12–14 kHz.

If the mix is already too bright, but you don’t want to muffle the details, a gentle shelving cut at the top will help. Start at 20 kHz, gradually lowering the cutoff point until the excess harshness disappears. The key is to do it gently to maintain the airiness but eliminate listening fatigue.

Choosing a Mastering Equalizer: Based on Tasks and Approach

Each of the equalizers reviewed is capable of handling mastering tasks, but each has its own strengths that should be taken into account depending on the situation.

Sonnox Oxford is suitable for those who value the analog nature of processing and work with delicate correction. It is especially good for smooth spectrum equalization without abrupt interventions.

Weiss EQ1 is the choice for those who seek maximum transparency. Its precision and the ability to dynamically equalize make it an excellent tool for detailed final processing and control over problematic frequencies without compromising musicality.

AVA Mastering EQ is more conducive to experimentation. Its architecture allows for an unconventional approach to equalization, trying different tonal solutions and finding interesting sounds, especially in non-standard genres.

Master EQ 432 is a classic. It doesn’t try to be ultra-precise, but its musical curves allow you to make noticeable changes to the sound while maintaining organicity. It’s especially appropriate when you want to add character to the master.

Infinity EQ offers a modern approach with a convenient visual interface and the ability to work with space in detail. It’s especially useful if you want to control the mid/side component and accurately distribute frequencies in the stereo field.

The choice of an equalizer depends not only on tastes, but also on the tasks. The main thing is to know the strengths of each instrument and use them where they reveal themselves best.

FAQ: Mastering EQ – Everything You Wanted to Know but Were Afraid to Ask

What exactly is EQ in mastering?

EQ (short for equalization) is all about shaping the frequency balance of your track. In mastering, it’s used subtly to enhance clarity, correct tonal imbalances, and make sure the mix translates well across different systems—without messing with the vibe the mix engineer intended.

How is EQ in mastering different from EQ in mixing?

In mixing, you’re sculpting individual tracks. In mastering, you’re dealing with a finished stereo mix. That means small moves go a long way. You’re not fixing issues—you’re fine-tuning the whole picture.

Should I boost or cut frequencies when mastering?

There’s no hard rule, but many mastering engineers prefer gentle cuts to remove problematic areas. Boosts can work too, especially if you’re trying to add air or warmth—but subtlety is key. We’re talking 0.5 to 1 dB moves sometimes.

What types of EQ are used in mastering?

You’ll typically see linear phase EQs (great for transparency), minimum phase EQs (more “musical” and analog-like), and analog or digital mastering EQs that add color or stay super clean. Each has its place depending on the track.

Can I master with just an EQ?

Technically yes—if the mix is already great, a touch of EQ might be all you need. But mastering often also involves compression, limiting, stereo widening, and loudness adjustments. EQ is just one piece of the puzzle.

What are some common EQ moves in mastering?

Some classics:

• A tiny dip around 300–500 Hz to clean up muddiness;
• A gentle roll-off below 30 Hz to control sub-rumble;
• A subtle boost around 10 kHz to add sparkle;
• Every track is different, though—don’t just copy presets.

How do I know if I’m over-EQing?

If your master starts to sound hollow, harsh, or unnatural, you’ve likely gone too far. A/B with the unprocessed version often. The goal is to enhance, not reinvent the mix.

Do I need expensive plugins to master with EQ?

Not at all. While fancy EQs can be fun, great results come from good ears and careful decisions. Even stock EQs in most DAWs are perfectly capable of doing clean, precise work.

Is it okay to EQ in mid/side during mastering?

Yes! Mid/side EQ lets you adjust the center and sides of the stereo field separately. It’s useful for tightening up bass in the center or adding air to the sides without touching vocals.

Any final EQ tips for mastering beginners?

Less is more. Use high-quality monitors or headphones. Take breaks to avoid ear fatigue. And remember: just because you can EQ something, doesn’t mean you should. Trust your ears.